The Lyric Stage Company of Boston’s production of The 25^th Annual Putnam County Spelling Bee marks my second production of the facetious and dry work of William Finn. I am a particular fan of Finn. His sardonic humor and dissonant harmonies are, for me, enough to entertain. The Lyric Stage brought to Finn’s farce an air of whimsy and caprice. This production’s uses of the book’s license were keen and jocular, and the delivery by the cast was poignant.

The setting of the stage was perfect. The gymmatorium of the Putnam County Primary School was complete with bleachers, a hardwood basketball court floor, and mascot logo marked as the gift of the class of 1950. The lighting too was appropriate and executed effectively to create the illusion. The Orchestra, unfortunately, was set off stage (either behind or above), which compromised the volume level at times. A lack of vocal amplification was noticeable as well. When the action on stage reached a critical mass, the vocal production was not always equal to the task.

The cast overall was delightful and entertaining. Each performer brought to life a unique and defined character, and each took their turn tickling the audience. Michael Borges created tenderness in Leaf Coneybear that is often lost in the hyperactive character. Krista Buccellato as Olive Otrovsky, the play’s heroine, was quite acute in portraying Olive as the easily overlooked daughter and speller. Buccellato also displayed one of the productions best vocal performances. Lexie Fennell Frare too flexed some powerful pipes. Daniel Vito Siefring played William Barfee to the letter. His characterization in singing was appreciated and appropriately administered. I must say, however, that Siefring, through his vocal portrayal of Barfee, gave glimpses of a pure and beautiful voice, that I almost wish weren’t hidden behind the hilarity that is Magic Foot. Kerri Jill Garbis, however, commanded the stage with her presence, voice and vivacity as the bubbly Rona Lisa Peretti. Garbis was funny, touching and energetic, but never over the top. Garbis’ performance was committed and precise.

One of the greatest aspects of this piece is the signature sound of William Finn’s music. That being said, I am aware of the difficulty of his dissonance, and the intricacies of his melodies. This cast tackled the inordinate score with vigor, though at times, particularly in “Pandemonium”, Finn’s unique chords did not resonate as they should, and as they did in opening number and each of the Goodbye sequences. This was most disappointing due to the clarity with which the music rang out at other points in the performance. Perhaps a contributing factor to the apparent pitch problems was what seemed to be, overall, sub-par vocal execution on the part of the male cast members. Much of the score seemed to be out of most of their vocal range, which could be said for none of the female performers.

The outstanding performer of the evening was Lisa Yuen. Yuen harnessed the dangerously contained intensity of Marcy Park. Yuen brought a fear to Park’s eyes through the entirety of the show, that finally broke after her spelling of “comoflajze” – an especially touching amusing moment. The bitterness Yuen brought to Park’s interactions with her fellow spellers gave the character an intriguing quality kept my eyes on her. The part of Marcy Park can often be lost on the shuffle of the contestants until her bust out moment in “I Speak Six Languages”. Yuen was certainly never lost in the shuffle.

I am delighted that The Lyric Stage Company of Boston chose a work by my favorite composer. I am even more delighted to have had the chance to see it. Despite some minor shortcomings, this production was entertaining and of good production quality. The innocence of children and their tribulations in meeting expectations were captured and translated. Watching this performance was enjoyable and has intrigued me to see more of the company’s upcoming season.

The cast of The 25th Annual Putnam County Spelling Bee. Photo Credit: Mark S. Howard

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)

“You are in for a treat, my friend,” I told my companion as we took our seats in the Calderwood Pavilion to see Speakeasy Stage Company’s last production of the season, The Great American Trailer Park Musical by David Nehls and Betsy Kelso.  I was admittedly unfamiliar with the show (so refreshing) but I did know something that filled me with delight, and I wanted to share it with my slightly less theatre-savy companion, “you are about to see some of Boston’s finest actors all together in the same room.”  I went on to expound my love of Kerry Dowling (my faithful readers have heard it before) and my excitement in seeing the ever-enchanting Leigh Barrett, and the bawdy, beautiful Mary Callanan all together on one stage.  In that moment I truly felt lucky to live in a place like Boston, a city bursting with talent that I personally feel rivals many of New York’s playhouses.

Speakeasy Stage Company never disappoints me.  This show was the perfect closing for a colorful, exciting season.  The Great American Trailer Park Musical takes place in the tropical heat of Florida’s Armadillo Acres, a trailer park in a town called Starke.  It was so stark, in fact, that the lively inhabitants of the trailer park only have gossip to keep them entertained.  With an agoraphobic and her husband with a wandering eye, a hysterically pregnant teen married to a gay Broadway dancer we never see,  and an exotic dancer as the new kid on the block, there is certainly plenty of gossip to go around, and the colorful characters paint a dazzling picture using broad and colorful strokes, leaving the audience breathless with laughter.

Dowling, who plays Betty, the Trailer Park owner, is joined by Lin (Callanan) whose husband is on death row, and Pickles, the young and not-so-knocked up teen (Santina Umbach).  The three play a Greek Chorus of unimaginable silliness as they introduce us to life and times in Armadillo Acres.  The three actresses have perfect chemistry and impeccable comic timing.  I was especially delighted to see Umbach hold her own beside two very decorated Boston performers.  She was hysterical, captivating, and a real scene stealer.  David Benoit, as Norbert, joined Barrett (playing Jeannie) as the sad couple whose son was kidnapped 20 years prior to the show, and were still dealing with the after-effects; Jeannie, by never leaving the house, and Norbert, by taking up with the lovely but vacant Pippi (Caitlin Crosbie Doonan).  Benoit was as charming as he was dogged, and his voice had a smooth country twang that would soothe even the fussiest baby to sleep.  Doonan’s bold and confident exotic dancing was matched only by her heart-rending delivery of the show’s finale number.  The cast was rounded out by the incomparable Grant MacDermott whose portrayal of Duke was spot on; he was both grimy and endearing.  His performance of “Roadkill” was one of the highlights of the production.  All the actors were highlighted by another ingenious set design from Jenna McFarland Lord (she is an amazing talent whose name you should continue to watch out for) and killer costumes by Seth Bodie.  Paul Daigneault and Nicholas Connell’s direction of the talented cast is apparent in their effortless vocals and easy stage presence, and they should both be proud of how brilliantly their cast shined under their discerning eyes.

Speakeasy Stage Company is one of Boston’s finest and I have been honored to attend their 2009-2010 season.  I have recently become aware of  a campaign currently going on for Speakeasy where all donations they receive are being matched by a generous donor.  Now is the time to get in and help them acquire funding to continue to deliver the best of Boston arts and entertainment.  You can find more information about donations on their website.  My money is on this company having a long life in the community, and I’m looking forward to what is on the horizon (namely a spectacular holiday production of Groovelily’s Striking 12- if you haven’t heard of it, you’re in for a real treat!) Rest up, Speakeasy, can’t wait to see you this fall!

Road Kill – (Clockwise From left):  Mary Callanan, Kerry A. Dowling, Santina Umbach  and Grant MacDermott  Photo:  Mark L. Saperstein.

I am going to say right off the bat that I have a very intimate relationship with Elmer Rice’s play, The Adding Machine.  Having played Mrs. Zero myself, and having been nominated for a National acting scholarship because of that performance (/ shameless self promotion) I feel not only an intimate bond with the character, but with the show as a whole, and I was extremely enthusiastic about seeing this production of Joshua Schmidt and Jason Loewith’s musical adaptation of the play.  Perhaps it is my little extra knowledge of the show, perhaps it is my tiny, itty bitty personal bias, or perhaps it is Speakeasy Stage Company’s proven dedication of pushing the limits of quality and affordability, but this production is truly one of the finest I have seen in Boston in the last five years.  It would absolutely be a sin to miss it.

The vocal performances of the cast, and their seamless unity integrated with the unique stage design and carefully constructed costume and lightscape to completely consume the audience and pull them into a dark world that, while dated, seems strangely and uncomfortably familiar.  From the first light hitting the menacing number-scrawled scrim, to the last painful note, the audience is enveloped in a surreal world of hopeless repetition- a theme which plays out over and over again throughout the piece- in content, music, and staging, and yet, it never feels boring.  I was completely enraptured.

Adding Machine A Musical is a very familiar story about a man trapped in a life he doesn’t want to live, a slave to predictability and habit. So repetitive is his life and the lives of those around him, that he isn’t even given a name beyond Mr. Zero.  After one desperate moment, a violent act rips him out of that life and we watch as Zero try to cope with quickly changing circumstance, through life, death, and beyond.  Zero’s few relationships, with his wife, his coworkers and fellow prisoners are also examined in their own mismanaged, micro-repetitive way.  Left with many opportunities for redemption in both life and death, we watch as Zero continues to make the wrong, easy choices out of habit and fear.  This familiar tale is both comforting and disturbing when faced with our own life choices.

A cast full of Speakeasy Stage Company veterans completely embodies this solemn world.  It would be impossible to list them in order of importance because each one was perfectly fit to their role.  The four lead players, as I will call them for the purposes of this review, Mr. Zero, Mrs. Zero, Dasiy Devore, and Shrdlu, were expertly supported by a completely committed and professional “chorus”.  Sean McGuirk was ominous and foreboding as the Boss and his otherworldly counterpart, The Fixer.  Leigh Barrett played an impeccable Mrs. One, confidently walking the line between blending into the scene and standing out.  Her voice was true, clear, and exceedingly pleasant to listen to.  Cheryl McMahon and Bob De Vivo as Mrs. Two and Mr. One respectively, cast an eerie and melodic tone into the choral music, and had tremendous stage presence.  David Krinitt as Mr. Two could not have been more perfectly cast in the role.  His physicality, costuming and makeup were expertly crafted to compliment his wonderful vocal tone and easy movement.  He was my favorite “chorus” personality.

Brendan McNab was a powerhouse of hopelessness as Mr. Zero.  His voice was superb, his movement, intentioned.  His impassioned soliloquy, “Zero’s Confession” left me breathless.  It took a tremendous talent to play such a demanding role with such an air of nonchalance.  Amelia Broome blew me away as Mrs. Zero.  Knowing most of her lines by heart, I felt I was extra critical of her movement and intentions, and she was beyond even my already high expectations for her (having been brought to tears at her portrayal of Margaret in The Light on the Piazza).  She was especially excellent in her grating yet somehow sad aria “Something to Be Proud Of” which opens the show.  Liz Hayes as Daisy Devore was wonderful.  Far from your typical ingénue, Hayes plays Daisy with grit and frustration.  Her vocal work, especially her accent was not what I expected and was a great surprise.  Her unusual beauty was exactly what I would have pictured, and her melodic voice was a great contrast and compliment to the role.  John Bambery gave a heartrending and touching performance as Shrdlu, arguably the only compassionate and soulful character in the piece.  Bambery has a strong and clear voice that I loved listening to.  This stellar cast was expertly directed by Paul Melone and Steven Bergman, and choreography by David Connolly was strong and diverse.

I was so taken with the production and I implore everyone to see it.  See it before it’s gone because you will be missing out on something really unique and special.  Thank you to the cast and crew for allowing me to relive a little part of my past in a very special way.

Brendan McNab and Liz Hayes as Mr. Zero and Daisy Devore (Photo: Mark L. Saperstein)

I like to believe that I was well suited to review The Company Theater’s production of The 25^th Annual Putnam County Spelling Bee.  I have a particular love for words.  One might describe me as sesquipedalian.  One of my favorite words is even a song title from the show (Weltanschauung).  Some may say I go too far in my quest to proliferate a plethora of vocabulary.  So a musical about a group of children who, too, have an affinity, or at least tenacity, for words sounds right up my alley.

The music of William Finn, a personal favorite of mine, resonated with the dissonance, desire, and despondency of children under pressure.  This is a story of a bunch of quirky kids with spelling skills and their quirky parents with neuroses.  Adolescence is a difficult time, particularly when one is brilliant.  This show evoked the poetic patheticalness of promise in the pediatric.   Each character was defined as brilliant, love-able, a little vulnerable, and severely over looked.

Each cast member shone in their role and contributed to a cohesive ensemble unit.  I hardly know where or who with to begin.  Darren Bunch, as Chip Tolentino/Jesus really demonstrated talent and commitment beyond his years.  A baby face indeed, but I certainly would not have pegged him as a high school senior judging by his performance.  Though he sang well the entire show, Bunch was most impressive singing the big notes of the big finish of “Chip’s Lament”.  Sarah Belliveau’s performance snuck up on me.  The taciturn nature of Marcy Park did not impede on Belliveau’s presence or impact.  With a contained but energized intensity Belliveau’s portrayal of Park exploded in her performance of “I Speak Six Languages”.  Singing pristinely Colleen McDonough tiptoed her way into the audience’s heart as the juvenile heroine.  McDonough’s performance was captivating and touching.  She really owned the role, earning the sympathy of the audience without playing the victim, as I imagine could be easy to do with the part. McDounough certainly displayed strength of character in characterization of a dejected little girl.

The stand out performer of the evening was positively Paula Markowicz.  As Rona Lisa Perreti and Olive’s Mom, Markowicz lit up the entire space with her presence. Markowicz played her roles with fervor and frivolity.  While watching her in and of itself was a joy, it was her vocal performance that captured me most.  Never a note strained, never a note missed, her vocal production was a crystal clear warm bath.  When she opened her mouth the audience was enraptured in her ethereal sound; an effect that Markowicz consistently had through out this performance as well as in performances of past productions that I’ve had the joy of seeing.  Over the years she has certainly engendered in me somewhat of a groupie.

The expectation was high for this show.  I am a fan of the piece itself, and have come to expect the utmost from The Company Theatre. The cast of nine, lead by Director Nathan Fogg and Music Director Michael Joseph electrified this pithy and priceless piece. I don’t think I have ever laughed so hard, or heard an audience laugh so hard as last night in the stadium seats on Accord Park Drive in Norwell.  The Company Theatre’s production of The 25^th Annual Putnam County Spelling Bee was absolutely hilarious.  They have set the bar high for themselves as well as the region in production and performance quality over the past 30 years.  As per usual, The Company Theatre has demonstrated their stamina for producing artistic, tasteful, and just plain good work.

McDounough and Markowicz share a mother/daughter moment.

The Boston Opera Collaborative was at its most spectacular this past weekend with their production of A Little Night Music, Stephen Sondheim’s charming and funny tale of love across generations.  The show is a favorite of opera companies for its musical intricacies and a favorite of audience members for its clever dialog, witty puns and fun music.  One need not know me that well to know that I am not a fan of Sondheim in general, regardless of his status as the grandfather of musical theatre, but I have a soft spot in my heart for A Little Night Music.  To me, the show represents a time when Sondheim wasn’t trying too hard to be discordant and complicated- and was focused on good storytelling and interesting music instead.  I was really looking forward to BOC’s production, having had my interest piqued during their production of The Crucible this past fall.  This production though, blew The Crucible out of the water and across the seas.  It was a delight from light’s up to curtain call.

The simple stage dressings and carefully thought-out lighting (by Julia Noulin-Mérat and Chris Brusberg respectively) were the perfect compliment to the simple yet elegant costumes by Rebecca Landau.  I love the unfussy way the stage was set, and the thoughtful way that director, David Gram used the space to compliment its assets and downplay its flaws.  Even the running up and down the aisles wasn’t as annoying as I usually find that sort of thing to be (though I could have done without the slamming doors- a piece of gaff tape would have done the trick).  There was a little bit of a volume problem with the bulk of the “chorus”, but I found the principles to be confident and present throughout the production.

Stephanie Piraino as Anne Egerman was captivating, with a light and crystal tone that instantly endeared the audience to her.  The trio she shares with Fredrick and Henrick, “Soon”, was the best I have ever heard it (and I was far more looking forward to it than to the more famous “Send in the Clowns” in the second act.)  Kristina Riegle was a statuesque beauty with a delicate and sophisticated voice and beautiful presence.  Her portrayal of Desiree Armfeldt was exactly as I would have envisioned her.  Ellen PutneyMoore was a wonderful Mme Armfeldt, causing bubbles of infectious laughter to burst across the audience with her every line.  She was extremely believable as an older woman; in fact, seeing her treatment of the character up against Meena Malik’s depiction of young Frederika Armfeldt was particularly impressive- the two really did seem to be several generations apart.  Katrina Holden and Brandon Cordeiro were a dramatic pair as the Count and Countess Malcom.  They both had strong voices with excellent characterization.  I loved seeing their interactions.  The knock-out, inspired performance of the night, though, goes to the incomparable Keith Potts as Henrik Egerman.  I almost fell out of my chair when I read that he is only in his sophomore year of studies because he was fantastic.  Besides his spirited cello work in the first act (extremely sexy, I might add) his voice was wonderful, and his acting was nuanced and full to the brim with emotion.  His angry outburst at the beginning of the second act was the highlight of the show.  There is not a question in my mind that Potts has a great career on the stage ahead of him.  I would have paid to see him perform alone, but luckily I didn’t have to, because the whole cast complimented each other, making the show feel even more polished and professional.

I must commend directors David Gram (stage) and Emily Hindrichs (music) for this production.  Rather than trying to wow the audience with flashy mechanics or modern marvels, the pair focused on clear and controlled character choices, and thoughtful comic timing to deliver the story.   There was never a moment where I thought, “why is this happening this way,” (a problem I had with The Crucible) because at every moment the directors thought about giving the best presentation of the story that they could, even when that meant a simpler or more traditional choice in staging or music.  I was so impressed and delighted.

My colleague, who did the review of BOC’s The Crucible, warned OperaBoston and BLO to “watch out” for Boston Opera Collaborative, and I have to echo his sentiments.  If this is the future of Opera in Boston, sign me up.

The excellent Samuel Bowen and Kristina Riegle share an intimate moment.

If you are looking for a family-friendly theatrical experience to help combat those winter blues, Wheelock Family Theatre’s production of Honk!, a plucky little retelling of the Ugly Duckling by Drewe and Stiles is an absolute winner. Packed full to the brim with theatrics that would appeal to the 5-10 year-old crowd, this production is not shy on the sparkle, or on the spectacle.

What a treat it was for this weathered twenty-something to be amongst a crowd of audience members who were primarily born after I graduated from high school.  As I looked around me, I felt the primal joy that the mystery of live theatre holds over the young, and I must say it is infectious.  WFT prides itself on its inclusion, and there is no question that this is something they should be proud of.  The curtain speech welcomed a girl scout troupe, and celebrated two birthdays before giving way to a cast that varied in age from homeroom to nursing home, and contained every color of the genetic rainbow.  Not only was it a guarantee that you will see someone on the stage that looks like you, but also you’d recognize your teacher, your neighbor, and your grandmother!  On top of that, two Teleprompters flank the stage, furthering the sense of communion by including those with hearing impairments (unfortunately, though, this lead to a very close scrutiny of the lines being spoken on stage, and the disparities between the two texts).

The audience was absolutely astonished of the beautifully polished production.  Dustin Todd Rennells costumes were clever and colorful and Matthew T. Lazure’s set design was inspired (the fantastic “nest” was the pièce de résistance!) The performers had great timing and a natural stage presence that captured the audience entirely- not an easy feat given the age range.  Cheo Bourne absolutely stole the show as “Ugly”.  Though he played the character a little “young” for my taste, his voice and acting were impeccable.  I couldn’t imagine another person for the role.  Aimee Doherty’s mature voice sounded excellent in her matronly role of “Ida”.  Jamie Montesano was perfectly cast a “Queenie” and gave one of the most nuanced performances- bringing just a hint of naughty into the otherwise sexless production.  I also loved Monica Moran as Penny.  Though her part was small, her voice resonated like a fairytale princess and she had the looks of an ingénue to back it up.  What a beautiful swan!  Also, I want to give a special shout out to the wonderful Emily Pinto who played “Fluff” one of Ugly’s duckling sisters.  She had a gorgeous, strong, voice and a great little attitude to match.  She’s a natural to the stage and I look forward to seeing her star rise in the Boston area.  Great job, Emily.

What you won’t find in this Wheelock Family Theatre production is innovation from director Jane Staab.  It is fortunate for Staab that her target audience is in grade school, because I have yet to see an original or thought-provoking staging of anything she has ever directed.  Staab’s canned choreography was so predictable, that I was able to lean over to my companion and say, “Kick line coming up.  Soon will be the dance circle.  Just about now the cast is going to run into the aisles,” and I was correct every time.  Minus the flying, is was pretty much exactly the same staging I saw in WTF’s production of Peter Pan.  Of course, one might argue that the retention of a five year old would lead Staab to not have to work so hard with coming up with original direction, but that just leaves a sour taste in my mouth.  I think no matter the age, the audience deserves to see a show that has been carefully crafted from start to finish, and while many of the crew members for this production of Honk! gave it their all, Staab gave me pretty much the same thing I have seen half a dozen other times from her.

I cannot end my review on a down note though, because it is really important for me to reiterate how glad I am that there are companies like WFT tailoring their productions for a new generation.  The earlier we can hook our children into the importance of theatre, the more likely they will be able to stand up for themselves during the inevitable cuts made to arts education across our state and across the Nation.  Honk! is going to be around for the rest of the month- bring your kids!!

Bourne and Doherty share an adventure.

It’s a difficult thing for a reviewer when they are tasked to write a review of something that is extremely dear to them.  [title of show] captured my heart back in 2006 when I stumbled upon its brilliance at the Vineyard Theatre.  An inventive, unique little piece that taps into the heart of any person who dreams about seeing their creative hopes and dreams succeed in a world where money is the only sure bet.  As a struggling artist myself, I immediately connected with the quirky characters who reminded me so much of my own friends, and delighted in the obscure references and clever quips that were meant to endear the veteran theatergoer.  When I heard that SpeakEasy Stage Company would be mounting one of the first regional productions, I was both delighted and fearful- how would a group of actors, no matter how talented, capture the essence of a cast that are essentially playing themselves?  How could I possibly be satisfied seeing strangers in a production that I felt so intimate with?

It was with great trepidation that I entered the Calderwood Pavilion on Sunday.  I was cautiously optimistic to begin with- Speakeasy consistently provides their audience with clever, well-acted shows starring some of the best talent the area has to offer.  I was further encouraged by the fact that this particular production did not include any “Speakeasy Super Stars” or other “Famous Bostonians” because it was easier for me to believe in the actor’s ability to embody Jeff, Hunter, Susan and Heidi without already recognizing them as Zanna, Jerry Springer, Shelly Parker, or Alfie Byrne.  When I sat down and saw the “four chairs and a keyboard” waiting for the show to begin, I took a deep breath, and was ready to let Speakeasy take me for a ride into one of my all time favorite shows.

[title of show] relies a lot on the quirky chemistry of its characters to bring the warmth and vitality to the music- and Speakeasy’s darling cast was full to the brim.  Jordan Ahnquist as Jeff and Joe Lanza as Hunter were a dazzling duo- capturing the charming relationship that Jeff and Hunter share.  Ahnquist is completely adorable- and his voice is perfectly suited for the role.  At times it was difficult to watch anyone else on stage because he just had that “stage presence” that you often hear about and yet somehow cannot define.  Lanza is wonderful as well- especially toward the second half of the show where Hunter’s stress and anger really allow Lanza the opportunity to flex his acting muscles.  Though not as strong vocally, his deep understanding of the character and great physicality make him a worthy partner for Ahnquist.  Amy Barker is phenomenal as Heidi- I would actually consider her to be as good as the original, if it is possible to be as good as someone who is playing herself. Her voice is lyrical and expressive and she is an excellent character study as well, capturing Heidi’s confidence and candor.  Val Sullivan plays Susan with apprehension.  She does give a solid performance; her voice is kooky, her gestures fun- but her delivery was slow and stiff- and at times, she really sucked the energy out of the scene.  She just seemed to lack the polish of her other cast-mates.  I do give her credit though, for smoothly covering her late entrance during “Development Medley” with a clever and unapologetic smile.  That’s not easy to do, especially so early in a run.  Props as well go to Will McGarrahan, music director, who is spot on as Larry, music director!

I am, without question, one of those “Nine People” who considers this show one of their favorite things, and I knew that I would be difficult to please, so I must commend Speakeasy for putting forth a tremendously entertaining production of [title of show].  It may not star the “real” Jeff and Hunter, but I think that it would make them proud (and I hear they are coming to see the show- break a leg and congratulations!).

Val Sullivan, Joe Lanza, Jordan Ahnquist and Amy Barker

Photo:  Mark L. Saperstein.

William Shakespeare would have rolled over in his grave if he had heard last night’s performance of Best Of Both Worlds at the A.R.T.- but only to get his ear closer to the magnificent sound! In the true spirit of the long dead king of writers, Randy Weiner, Diedre Murray and Diane Paulus have re-imagined The Winter’s Tale for a modern era- touching the audience like never before.  Mellow jazz, smooth R & B, passionate gospel and playful hip-hop combine and intertwine to imbue a centuries old story with new spirit.

Gone is the familiar, painful to follow text and predictable action.  The cast fills the stage with color and sound and vitality to rival the flashiest of Broadway shows.  Just as King Chamberlin’s Men would have, the company of players of Best of Both Worlds, arrive on a bare set- in a purple Cadillac no less- and instantly transform it into their playing space. Cleavant Derricks, as our narrator, sets the scene for the audience, and his tongue is planted firmly in his cheek as he introduces two R&B “Kings”, Ezekiel (Gregg Baker) and Maurice (Darius de Haas) whose pride and stubbornness lead to extremely dramatic circumstances for Ezekiel’s beloved wife Serena (Jeannette Bayardelle), his children Mamillius (Sebastien Lucien) and Rain (Brianna Horne), and the entire kingdom of lives they touch along the way.  It is Shakespeare undone and redone again (you should see the exit pursued by a bear!)

The axiom and essence of The Winters Tale live on in this neoteric, musical treatment.  Baker as Ezekiel is mesmerizing.  It is almost impossible to take your eyes off of him when he’s singing.  With a voice that floats to the very top row of seats, his emotions are palpable- from rage to anguish. De Hass is the perfect counterpoint as Maurice, his voice so warm and supple that there was not one person breathing in the entire auditorium when he hit his high notes.  All this vocal power was matched by Bayardelle’s Serena and Mary Bond Davis’ portrayal of Violetta, Queen Mother of Ezekiel.  Bayardelle garnered the loudest applause of the night after her heart-rending plea for mercy at the end of act one.  She was as beautiful and ethereal as any queen I could conjure.  Davis as Violetta had the vocal power to rival the entire ensemble, and as the company’s matriarch she filled her roll with a grace and dignity that has been unmatched by any single female I have seen perform this season.  A strong ensemble of players round out the rest of the extraordinary cast.  Nikkieli DeMone’s powerful celebration of love in the second act was a crowd pleaser, and Horne and Lawrence Stallings (as Tariq) deliver a sensational ballad- but the real show stopper came from Lucien, whose solo tribute to his mother is so beautiful that it brought the audience to tears.  He was sophisticated and mature enough to hold his own in a cast of exceptional talent.

I was so moved to be a part of this night of theatre.  Looking around the packed house, their was an even more pronounced rainbow of faces in the crowd- and that is an exciting feeling for someone who sees an average of three shows a week, often with the same, stuffy, blue-haired set.  I felt privileged to get to share this event with a crowd that isn’t necessarily your typical A.R.T. patron.  The feeling in the air was arresting- a current of excitement that revived and rejuvenated the entire audience.  The night flew by- and there was no need for the company to illicit a standing ovation at the curtain, the audience was already standing, clapping, shouting, and in some cases, singing along.  It just felt good.  The A.R.T. has made its name by offering us unconventional theatrical productions, and Best of Both Worlds is more than just a feather in the A.R.T cap, it’s a crowning jewel. Bravo, Bravo!

Jeannette Bayardelle and Sebastian Lucien. Photo: Marcus Stern.

A marriage proposal. Photo: Marcus Stern.