Candide, at Huntington Theatre Company this fall, is amazing. Amazing. AMAZING!  I have not gone to a more visually stunning and musically moving show in a long while. Candide runs through October 16th as the kickoff to Huntington’s 30th Anniversary Season. Huntington welcomes a production that is clearly part remount, part newly produced, bringing several Chicago artists to Boston – most notably Mary Zimmerman and Doug Peck, from the show’s previous run at the Goodman Theatre.

Mary Zimmerman, directing and re-imagining this original Voltaire adaptation with music by Leonard Bernstein and others, proves once again why she won a Tony for Metamorphoses and why she has been officially described as a Genius, winning the MacArthur Fellowship years ago. Peck, the Joseph Jefferson Award winning Music Director, brings the Bernstein music to life with a passion and force that many musicians envy – or should!

Candide follows the life of the naïve young man, removed from his home of wealth for his romantic entanglements with his cousin. In his travels, he experiences the funny, the serious and also the horrifying world of war, religion, sex and power in Europe through the heavy-handed philosophical eye of the original author, Voltaire (d. 1778).

The production design of Candide is stunning. Utilizing a deep stage space and projections, the space is at one moment a small classroom space, then an empty ballroom, then the dirty streets of several European cities in progression.  Daniel Ostling’s set design, moving seamlessly and speedily through time and space with more than a few stunning reveals, is beautiful. Opening with a series of simple projections, the audience is tricked into a calm expectation for the design of this opera. In the first scene, the attention to the color palette is breathtaking.  This first moment takes place far downstage in a small study populated by aristocrats within a comparatively simple set – desk; chairs; hand-props – then, in a moment as Candide himself is shunned from the palace after a brief moment of sexual impropriety – the stage is bare and wooden, giving a stark look into the emptiness behind the beauty of the aristocratic life.

Like most of Zimmerman’s re-creations of classic tales, this production is not short on spectacle, visual assault and surprise, and unexpected vocal, physical and emotive choices. Each and every actor is put through their paces with the physical and vocal demands of this production.  I would love to be backstage to see the movement choreography that surely must have developed to keep the onstage world so quickly transforming.  Though Zimmerman’s tale provides spectacle, it is not ever for spectacle’s sake. Her use of visually moving stimulus, and unique movement and vocal direction, is always at the service of the story and the audience. Candide is no exception to this practice.

Doug Peck’s musical direction of the music by Bernstein and others is transformative. At intermission, I overheard several conversations from patrons that this was the most exciting opera they had been to in years – undoubtedly due to Peck’s brave musical choices and interpretation of this great piece. The young musical director, already with four Joseph Jefferson Awards under his belt, should hands-down be considered for any and every award Boston has to offer. Peck has been considered the “musical wonderkind” of Chicago for almost a decade(1), and hearing this production of Candide, one has to hope that he will grace Boston again with his brave musical prowess.

This review would be remiss if I did not compliment the amazing fusion of casting. The cast of Candide brings together some of Chicago’s best with some of Boston’s best actors. Erik Lochtefeld* is hilarious as the vain Maxmillian; Lauren Molina’s entire performance rivots – particularly her vocal power; and Jeoff Packard carries the show with strength, focus, and more than a few moment of physical hilarity.  Kudos to the ensemble and to the production team for bringing them all together!

1. See “Chicago Theatre Addict,” chitheatreaddict.com.

Members of the cast of the Huntington Theatre Company’s CANDIDE. Photo by T. Charles Erickson.

As the final curtain fell, the house lights rose, and I began my way out of the Loeb Drama Center, my ears couldn’t help but hone into the conversation happening behind me. A woman remarked to her theatergoing companion, “Well, I give it an A for effort.” In the moment, I couldn’t help but focus on the tactlessness of such a statement while still inside the theater. However, upon further thought, I have to agree with the tactless stranger. The credit for this A undoubtedly goes to the cast of consummate professionals who brought this work to life at the American Repertory Theater. As adept as they were, though, their talent alone could not save this haphazard production.

For the purposes of full disclosure, I absolutely did read Stephen Sondheim’s open letter to The New York Times regarding the “blasphemous” treatment of Porgy and Bess by this creative team, and I entered the theater very tentatively the evening of this performance. I am not an aficionado of Porgy in its original form, but many of the changes preview interviews were indicating made me uncomfortable. I am pleased to be able to report that the hype is incredibly disproportionate to the actual changes, and that during previews taking place before I saw the show, Diane Paulus restored the show’s original ending, opting for Bess to not return as Porgy sets off in search of her.

Audra McDonald was absolutely resplendent as Bess, commanding the audience’s attention whenever she took to the stage. Her acting was impeccable—she really brought a tender depth to the character making every intention crystal clear. Likewise, Norm Lewis as the lame beggar Porgy (New! Improved! With a cane!) was a delight. The journeys these two characters take together are deftly executed by their actors, and deepened by the wonderful on-stage chemistry the two share.

The rest of the cast was nothing to shake a stick at, either. Nikki Renée Daniels, as Clara, set the tone for the entire show with her beautiful and fresh rendition of the signature “Summertime” while holding a real live baby (Special kudos are owed here—the infant didn’t make a peep). Mariah, played by NaTasha Yvette Williams, brought a maternal tenderness to each of her scenes and songs. David Alan Grier as the “happy dust”-peddling Sportin’ Life brought a seedy finesse to the character, he really makes the audience see the allure Bess sees in him. Phillip Boykin’s Crown did leave something to be desired, though. His acting was decidedly more “opera” than “theatre,” and not quite up to par with his peers on stage. The ensemble, as they gathered to gamble, picnic, or hunker down for a storm, was in top shape vocally, though when they were executing Ronald K. Brown’s distracting choreography, their ability to aid the storytelling was lessened.

Diane Paulus’ unfocused direction really was the iceberg in this Titanic situation (I’m not joking—the scenery actually tips up at one point, causing this reviewer to go to the only logical place he could: Yeston and Stone’s musical Titanic). There were so many moments I sat in my seat thinking, “Wow, what a wonderful opportunity to create some sexy dramatic tension,” yet the dramatic tension’s invitation to this dinner party clearly got lost in the mail.

The new book scenes contributed by playwright Susan Lori-Parks added between the songs simply serve to halt the flow of the show instead of helping it move forward. The dialect in the book scenes is noticeably different from the dialect in the lyrics of the songs, and the two do anything but play nicely together on stage. It was very jarring to see the characters begin singing in “demeaning 1930s black people talk” and then, by contrast, appear 300 times more articulate when speaking to one another, only to switch back when they began singing again. On the topic of music, William David Brohn & Christopher Jahnke’s orchestrations were played beautifully by the 18-member pit band led by conductor Sheilah Walker.

The real star of the production team is Christopher Akerlind, for his beautiful lighting design. It is an inside joke among my friends that when I am searching for something nice to say about a production, I will immediately default to “Well, the lighting was good.” In this case, however, I am incredibly earnest in this statement. His beautiful use of horizontal-facing lights to create shadow plays on Riccardo Hernandez’s towering set was very effective, as was the lighting effects to create a full-fledged hurricane at the pinnacle of the second act (I was more afraid of the rain on the stage of the Loeb than I was of Tropical Storm Irene).

Overall, I keep coming back to the “A for effort” statement. Temporarily removing my “critic” hat (and what a fabulous little number it is, too), seeing a production of this reimagined American classic with such an impeccable cast was amazing. With some tweaks to the work itself and some serious direction doctoring before it hits Broadway in December, it’s possible this becomes one of the roles that defines McDonald’s career as an actor. The opportunity to see her play this role should not be missed.

Audra McDonald and Norm Lewis share an intimate moment at “Bess” and “Porgy”.

“Slaves have options. Cowards ain’t got shit,” states the main character of New Repertory Theatre’s Passing Strange. Youth – as he is referred to in the playbook, and who remains nameless throughout this production – spends a great deal of the show making comparisons between his middle-class California life in the 1960’s to that of his ancestors: as African natives; as slaves; as servile members of society in America prior to the civil rights era (for purposes of this brief theatrical review).  Youth goes on a journey which the audience is meant to follow from boyhood to adult man, from whining child to reflective family member, and from someone over-simplifying his role in society to someone choosing his path within that society.

But do we, as the audience, really follow? The dually-acted main character played by Cheo Bourne* as Youth, and Cliff Odle* as Narrator / Youth all-grown-up, is experiencing an identity crisis that while familiar, is not wholly authentic. Though the performances by Bourne and Odle were dynamic, witty and as emotionally expressive as the script dictated, the story itself hit me like a watered down version of the novel “Black Boy”. Instead, the Youth in Passing Strange was kind of unhappy with his life, he sort of goes on a journey, and he almost learns a lesson from his experiences – Almost.

The roadblock to this audience member experiencing a true character transformation along with Youth was a lack of connection to his family and home to begin with. I was left wondering if an audience can find a sympathetic character in a boy who shows no signs of loving his mother even in an accidental, teen-age-bravado, when-no-one-is-looking way. Youth and his Mother, played wonderfully and bravely by Cheryl D. Singleton, do not seem to connect in a way that would make this Youth a real person. He and “Mother” – also nameless – remain shelled expressions of a son-type and a mother-type.  The other characters follow suit until the very end of the play – too late for me to feel empathy for their story.  Even the Narrator, meant as the past-tense first-person storyteller of Youth’s journey, seems directed as a current-day stereotype of a black man in touch with his great past. I never learned what became of Youth until I read the extensive program notes and drew my own conclusions, and so this character, too, failed to become whole in my eyes and heart.

This story simply didn’t resonate with me, but I would be remiss if I did not discuss the fact that this story is probably not for me. While many audience members go to the theatre with an idealistic view that stories are universal, and I certainly count myself among them, I know our idealistic intentions do not always match our actual experiences. When I see Passing Strange, do I experience the same journey in the audience as a young black man? Of course, I do not. When a young black man sees The Vagina Monologues on a college campus, does he have the same experience as his bisexual female classmate? Of course not. Nor does this young woman have the same experience seeing The Laramie Project as a community member recovering from the trauma of homophobic violence.

It is not that we must come from the same place to experience the same performance – it is that we must all end up there by the end.

The cast of Passing Strange

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!

“The Last Five Years”

(and Timeless Thoughts on Art and Love)

As a fellow theatre artist, it is rare to experience a play that explores the intoxicating sadness of two artists falling in and out of love – or is it? Whether in New Repertory Theatre’s production of Jason Robert Brown’s The Last Five Years, or Goodman Theatre’s newly commissioned play, Stage Kiss, or the recent renewal of infatuated interest in the onscreen love affairs of the late Elizabeth Taylor, it seems everywhere I look these days, it’s artists making art about artists making art. Interesting – yes. Heartbreaking – at times. As interesting to audiences as it is to the artists themselves? – I wonder.

There is similarly something mysterious, but youthful, about any production staged in the black box theater at the Arsenal Center for the Arts – whether a show is in the space as a one-weekend rental, as an academic pursuit, or as a mainstage performance event by one of the resident artists, the Arsenal’s black box space has that certain down-n-dirty, get-it-done, anti-Spiderman: The Musical attitude that is not lost on this former Chicago theatre gal. Whether it’s the smallness of the space which sat about 50 people, or the musty smell of fresh black paint on the walls, floor and set dressings, or the knowledge that quick-changes are happening right there in front of you, out of the light – when I see a show in this space I get college theatre school flashbacks that I must confess – I heartily enjoy.

This small audience in a sold-out house, and the knowledge that the show has been extended with my own ticket hard to confirm, made me wonder how many theatre artists were in the audience. Just as I began to wonder, I noticed a gaggle of them seated together. I mentioned this to my date for the night, a colleague and fellow theatre-maker, and he rolls his eyes and murmurs, “Of course.” I took his murmur to mean, “Of course they would all come to this show,” knowing that of the group, my date and I included, there was probably not one among us who had not sung a Jason Robert Brown tune for an audition, and who among us doesn’t love a play about a people in love that are also in plays?

It doesn’t hurt the production’s attendance that Aimee Doherty (as Cathy) and Mark Linehan (as Jamie) have had a great season so far, and are obviously getting the job at done at New Rep with sold-out houses, added performances, and much a-twitter about the “how” of getting seats – literally.  I tweeted “@MrJasonRBrown” myself trying to get a lock on the tix (he did not help but was friendly). Having seen a great deal of Ms. Doherty’s work this season, I must say the thought that always hits me as she enters the stage is truly, “that woman gets the job done.” An actress that is strong in her characterizations, skilled and fluent in her vocal choices, versatile and yet authentic in her movement, and simply gorgeous to look at – what more do we want at the theatre? Oh yeah . . . Connection.

Brown’s The Last Five Years is about two artists who make and miss and mess with connection: Connecting to their art; connecting to one another; connecting to themselves. As much as it is about connecting to love, it is about connecting to life. Doherty’s character, Cathy, sings “I Can Do Better Than That,” later in the show, and the audience realizes that it’s not about girl-falls-for-boy-and-it-all-goes-to-hell, it’s about girl-finds-herself-and-it-all-comes-together. Whereas Linehan’s Jamie, we learn from the onset, grows more and more connected to his art and career, and notably disconnected from his marriage, his morality, and perhaps himself. This exploration begs the same old questions: Can an artist, any artist, be connected to both romantic love and artistic love? Do artists have a different emotional capacity or wavelength that confuses their ideas and ideals about love? Or even – Can a person truly be in love with anything or anyone while maintaining their sense of self?

Overall, the production took me on a journey through lost love, failed art, forgotten connection, and back again – a trip that is well worth taking. I invite audiences to catch tickets to this production, if you can! Its minimalist yet beautiful dark design, its performances, most notably by Doherty and the live orchestration, are superb. Jason Robert Brown’s book and music, as always, deliver a new look at the standard American musical and the topics it can wrestle. Oh, and seeing a show in the black box at the Arsenal? Well, I adore it.

-Mary ElizaBeth Peters

Aimee Doherty and Mark Linehan in The Last Five Years. Photo by Christopher McKenzie.

The ART continues it’s Greek Fest with it’s stunning premiere musical theater piece “Prometheus Bound.” The first three words that come to mind when leaving the theater are FANTASTIC, SEXY, and ROCKIN’! This show was a great representation of new trends in the theater and exemplified a-typical direction and bringing the theater to the people. Go see it…

The biggest props go out to Diane Paulus. She is the brains behind this production and her direction was stellar. She brought together the masterminds – writer Steven Sater (of Spring Awakening fame) & composer Serj Tankian (lead singer and songwriter for System of a Down) and put them to work on this telling Greek myth. Their work together created something exciting for any kind of audience member as could be seen by the completely different types of people in attendance.

The myth itself focuses on Prometheus who stole fire for the human race from the Olympian gods and was withholding a prophecy from Zeus himself about his downfall. Because of his crimes against a tyrannical dictator, he was sentenced to be bound for eternity with a crow eating his liver every day just to wake up the next morning with a new organ to be eaten again. This project is also paired with Amnesty International who dedicate each performance to a different prisoner of modern-day oppressors. It’s a perfect combination of political activism and outrageous theater.

The cast was superb, and I’d be wrong to not point out that they are very easy on the eyes…

Gavin Creel as a shirtless Prometheus is sexy, haunting and has a rock voice to go with his great acting skills while being tied with chains to every corner and ceiling in the theater at once. Uzo Aduba as Io was gorgeous and captivating and projected a great Tracy Chapman to the extreme. She opened the show and closed it with The Titan, Prometheus that set the tone for the whole evening. The Daughters of the Ocean were a perfect rock trio. Celina Carvajal, Ashley Flanagan and Jo Lampert came out of no where with great blending in tone and action and always kept the right attitude for the space and distinction from the other players. I just wish they each had a little solo time to really let us here their beauty. Michael Cunio as Oceanos was unquestionably the hottest player in the room. Clad in leather including a black studded dorsal fin, his crooning, attitude and looks kept my attention the whole evening. Gabe Ebert as Hephaistos was not very convincing, but his turn as the coked out Hermes rocked the room. Lea Delaria was the least memorable from the group. Her scat in the trio “Time of Conclusion” was great, but the rest of the time just came off as stereotypical angry lesbian when she could have been so much more for the role of Force – this productions version of Zeus.

Emily Rebholz’ costume design was right on the money. It’s got to be hard to create looks for gods and goddesses and make each costume fit into the hard rock edge of the shows music, but her stylings were hardcore and awesome. Kevin Adams’ lighting was a little par for the course. It fit into the club feel of the room well, but I wanted the lights to really shine on the players more as they didn’t stand out enough against the black of the theater space and the black of the costumes that most players had on.

The biggest applause goes out to the band. They nailed their performance and kept the room rollin throughout the night to the point where the “groupies” (other actors in street clothes scattered in the audience) weren’t even needed to keep the hype alive in the room.

In conclusion, this show = amazing. Run…don’t walk…to buy your ticket.

Michael Cunio and Gavin Creel. Photo by: Marcus Stern.

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

At the commencement of the production, the audience is exposed to a playful delivery of exposition through a film.  The use of this convention is both an appealing and attention grabbing way to get through the nitty gritty of the plotline.  Then begins the haunting melancholy of Daniel Jenkins’s Max.  This juxtaposition of joy and despair prevails throughout the production.

One of the strengths of the piece is in its lightning fast transitions.  The action seamlessly flows through each characters struggle to find meaning in their lives in the turbulent period following World War I.   Effortlessly, the audience is transported from Max’s borderline catatonia of the 1950’s to the Belle Epoch, where life was good and no one was unhappy, to the bloody, inert trenches.  Throughout, nothing is really what it appears to be.

Upon learning of Stephen Schwartz’s role as producer, the existentialist tone of the piece is not surprising.  All four primary characters seek to define their existence, to determine what their purpose is for living.  We watch as they muddle through the bitter intoxication of grief, and try to piece together what is left of their lives.  Max does this most literally, becoming engrossed in his creation of a book of collages.  When asked why he does collages, Max responds “why do we do anything?” He then philosophically reveals that, to him, creating collages is a way to gain control that has thusly eluded him, to manipulate the people and events of his life and have some effect over his destiny.

One aspect that the plotline lacks is the lack of development of characters’ relationships.  This, however, is true to the philosophy of the piece.  Each character is merely a pawn, being manipulated by some unknown entity.  When a relationship works, we do not know why- it just fits.

Jim Bauer’s music is positively breathtaking, drawing inspiration from elements as diverse as an oompa band, classic country and rock music’s concept album era. Most notable are the pulsing, primal palpitations of the percussion.  It is the one consistent element, a driving force for a story that spans many decades and several wars. Simply put, it is one of the most hauntingly beautiful musicals I have ever heard.

If you are looking for shallow, more traditional holiday fare, then look elsewhere.  However, if you are looking for a theatrical experience that you will be thinking about for days to come, then see A.R.T.’s “The Blue Flower”.  Through this awe-inspiring, thought provoking production, audience members cannot help but leave contemplating their own existence, as well as the complexities of the human condition.  After all, “the greatest mystery of all is reality.”

Stunning and disturbing visuals.

Walking into the Wheelock Family Theater, I was immediately surrounded by children of all ages, bouncing with anticipation, as they waited for Annie to take the stage.  Patten leather shoes, hair bows and the occasional matching pajama set (after all, this was a late night!) immediately brought me back to my own childhood, and I was all too happy to get caught up in their infectious excitement.  I have always loved Annie; its message of love, human connection and of course, the delightfully memorable music.

For those of you who don’t know the story of Annie (are you still out there?), it centers on little orphan Annie, who was left at a NYC orphanage at the time of the great depression. Oliver Warbucks, a famous billionaire, takes Annie in for the Christmas holiday as an act of charity.  Her positive outlook and street wits win over the stern businessman; however, a con artist pretending to be Annie’s parents surface when Warbucks tries to help Annie fulfill her dream of being reunited with her family.

When I think of Annie, I think of a spunky orphan, smart and rebellious, but also tender and optimistic.  It’s not easy to capture such a well known character and Grace Bakeman’s portrayal of Annie was solid. I felt her interactions with the other orphan’s and “Daddy” Warbucks were the most genuine, while her exchanges with FDR and even Grace felt a bit forced and bordered on over-acting.  I was a bit disappointed with her vocal range, missing the high notes on “Tomorrow,” and softening some of the measures that I am used to hearing belted out. When in her range, Bakeman’s voice was strong and sweet. The stand out performance for me was Timothy John Smith as Oliver Warbucks. His portrayal of the billionaire tycoon was comical, yet heartwarming and his strong voice stood out among the cast.  Oliver Warbucks assistant, Grace, played by Aimee K. Doherty, had an adorably bubbly personality and her voice was crisp and sweet.  Contrasting Grace, Miss Hannigan, placed by Cheryl McMahon, was truly nasty. Her acting was slimy and sneaky, though her singing voice did not measure up to the character she was embodying. I adored Audrey Hedequist as Molly. This young girl was the smallest of the orphan children, but her silliness was contagious and you could not help but smile at her antics on stage.

I appreciated director Jane Staab’s use of radio to help tell this tale of human strength, courage and conviction.  The multi-purpose set complimented the idea of listening and using your imagination perfectly. There were just enough visual cues through the props and set to evoke a sense of time and place.  Orphan bunk beds turned into skyscrapers and skyscrapers turned into the prison-like windows in the orphanage. An oversized chandelier was all that that was needed to ensure that audience knew they were now in Warbucks mansion.

I loved that the orchestra was placed on stage, instead of being tucked away in the pit.  Their placement did not interfere with the actors and in a number of the musical scenes, including “Fully Dressed” and “N.Y.C.” they truly added to the show. Costume designer Lisa Simpson’s aesthetic stayed true to the period and I appreciated the well tailored suits on the men and the grittiness of the coats and hats on the homeless.  I also enoyed Laurel Conrad’s light choreography, especially during the “Fully Dressed” number.  The tap dancing Boylan Sisters timing was perfect on the radio commercial and July’s rousing solo during the orphan’s dance number had the crowed cheering. The dancing wait staff in “I Think I’m Gonna Like It Here,” helped convey the excitement of Annie’s arrival into this previous sterile environment.

I truly enjoyed my time at Wheelock Community Theater.  Obviously edited for a young audience, I felt the only scene out of place was “Hooverville,” where Annie encounters a homeless community, but I can understand the attempt to set the scene of the Great Depression.  As usual, Wheelock’s attention to diversity added to the family friendly atmosphere and the experienced cast was supported by an incredibly talented ensemble.  I truly hope as much thought goes into the production of the upcoming Secret Garden, if so, I will forward to another trip down memory lane.