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

Boston, it elates me to say, is an enclave for upstart, up-and-coming, unconventional and unseen theatre.  Boston houses countless theaters and likely thrice as many theatre companies. There is an incredible amount of diversity. The plethora of production companies and the cost of Boston real estate make establishing a new company an arduous process. Funding, marketing, and casting are some of the difficulties of a fledgling organization. In their third year, The Independent Drama Society is proving their ability to wage the uphill battle. Their production of Proof, was just that – proof of their ability to mount an entertaining production.

The technical aspects of this production were executed redoubtably. An effective use of The Factory Theatre’s space, the set consisted of the backside of a house, and a porch. Lighting and sound were precise and appropriate. In particular the gobo preset of scribbled math jargon was appreciated. The intimate setting of the venue can be a hindrance, but IDS tackled the challenge head on, and it was refreshing to see the two sided seating layout.

Any quartet cast in this piece has their work cut out for them. Fulfilling the pivotal role of Catherine was Kate Daly. Daly displayed a developed craft beyond her years. She delivered a dry wit and a wide range of emotions that suited the part. Despite her engaging performance, Daly’s youth worked against her. In a space like The Factory Theater, there is little wiggle room for age appearance. It was apparent that Daly’s stature and face were those of a juvenile. Chris Larson, as the Catherine’s romantic counterpart Hal, well cast opposite Daly, gave a committed performance. In playing the Ph.D. pursuant geek, Larson gave a detailed performance including a characteristic wringing of the hands and facial twitching. His quips and quirks defined the character. Larson was most captivating in Act I. After the intermission however, it was as though Larson were painting with a different brush. The acting choices seemed to be of an indicative nature, contradictory to the subtlety with which the audience was engendered to the character in the first half of the play.

Kara Mason as Claire, Catherine’s older, patronizing sister, was the outstanding performer of the night. She played the role well. She established herself as the antagonist while still maintaining likeability. Mason brought a vulnerability to Claire’s self-possession and self-importance that could easily be lost or forgotten in pursuit of portraying Claire’s more abrasive idiosyncrasies. Mason left me wanting to see more of her work.

Overall The Independent Drama Society’s production of Proof was a success. The performance was entertaining and enjoyable. The inordinately energetic and attentive staff were present and active in the front of house operations. The cast, crew and production team brought together the elements of play making to create the illusion of this family drama. The Independent Drama Society is an insurgency of thespians that deserve to be kept track of.  I anticipate company’s progress with time as they lay their claim to a niche in the cog that is local Boston theatre.

Robert at night.   Photo by Kimberly Smith



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)

Unfortunately, grim is the best way to describe Company One’s recent production of Grimm, a retelling of seven classic Brother’s Grimm fairy-tales.  Clocking in at a laborious 2 hours and forty five minutes, these “re-imagined” vignettes were not the dark and thoughtful pieces I had hoped for, but on the whole were a poorly written mishmash strung together by very poor quality voice over recordings from the authors.   Even the undeniably talented actors and actresses giving it their all and the clever set dressings couldn’t compensate for this sloppily written collection.

Giving Gregory Maguire, writer of the popular novel, Wicked, top billing was a good idea for this production, because his name alone got bottoms in the seats.  His play, The Seven Stage A Comeback, was based on a short story he wrote by the same name, in which the seven dwarfs of “Snow White” fame go on a journey seeking answers from White after she “abandons” them to live with the prince.  Though I found it to be a bit arcane, at least it was written with sophisticated language and acted well.  I wish the play wasn’t broken into three parts and performed throughout the night because I found it to be distracting,  both for the play itself and in relation to the other plays.  Not that the plays themselves deserved much scrutiny.

Thanksgiving, by Kristen Greenidge, barely references “Clever Else”, the fairytale it was supposed to be written about.  Heavy handed and sloppy, the only thing saving this soap-opera melodrama is the superb acting work of Nicole Prefontaine,  Becca Lewis and Molly Kimmerling, whose physical and vocal transformation is commendable among the cliche.   Stories about Snakes by Melinda Lopes is barely followable.  The repetitious, sing-song dialog is boring, the acting is stiff and strange,  and the point is completely obscured.  John Kuntz’ Red is a disappointing retelling of “Little Red Riding-hood”- using a supercharged sexual story to try to teach the audience something about trust and power; I just felt uncomfortable during the frankly unsurprising story.  This was my biggest disappointment of the night, considering my obvious affinity for Kuntz’ work.

Marcus Gardley presented the audience with Half-Handsome and Regrettable, one of the most insultingly bad “professional” plays I have ever seen.  I’m not going to apologize for how blunt that sounds because I was completely floored that something so juvenile and poorly written was showcased with the likes of John Kuntz and Gregory Maguire.  Half Handsome and Regrettable was one bad joke and insulting stereotype after another all topped off by a museum guard doing a suggestive dance to “Single Ladies” (so insulting that this pop-culture slapstick is the only way Gardley thought he could get his audience to laugh).   Prefontaine and Mason Sand played the “Hansel” and “Gretel” characters, and even their dedication to the roles didn’t save the train wreck of a script.  I’m shocked that Company One selected this sub-par play to be part of their Grimm collection.

The ultimate problem with this night of re imagined fairy-tales, is the very essence of fairytale in and of itself.  The Brothers Grim crafted masterful stories that were meant to teach the reader subtle lessons about right and wrong in their own  society and culture.  When you extract and twist and reconstitute the stories trying to add layers and dimension, you ultimately strip the stories of their very essence.  Not every tale continues to resonate in our modern culture (Stories about Snakes was a particular failure here).  Of course this can be done to great success (look at all the excellent manifestations of the “Cinderella” story which exist in popular television and film) but when you mess with something that is already perfectly constructed, you run the risk of an even more crushing failure (did you see Sydney White?)  I think this production of Grimm fell a little too far on the side of “crushing failure” more for its desperate attempt to add meaning to stories that already had meaning than for its acting and production value.

Victoria Marsh displays a very notorious apple.

Love is in the air in Boston in June.  We all breathe a collective sigh of contentment as the cold air floats away to make room for balmier breezes.  The flowers melt into a glorious rainbow, reminding us that the winter is behind us, and we can look forward to a few magnificent months of summer sunshine.  The surest sign that happier times are upon us is the splendid celebration of self-expression that is known all over the world as ‘Pride’ and one of the most anticipated elements of this glorious week-long fête is the Boston Gay Men’s Chorus’ Pride concert.  Gone is the sweetness of the holiday concert, and the serious and touching tone of the spring concert, BGMC’s Pride concert was full to the brim with the very essence of the summer season- color, excitement, laughter, and lots and lots of sequins.

This year’s concert, Divas, was a tribute to all the great female performers that have touched our lives- ranging from the Broadway legends of yesteryear, to the celebrated pop artisits of today.  Two truly phenomenal guest stars joined the chorus in this sparkling display; the hauntingly beautiful Claire Philippe, and the incomparable Leigh Barrett.  In the true style of BGMC, each section of the delightful event was so full of soul that it was hard to decide if you should laugh out loud or cry at their heartfelt candor.  I did both.

During the “Diva Drive-By,” the chorus led us on a dizzying jag through the music of twelve of the most beloved singers in the world.  From Dolly Pardon to k.d. lang, no genre was left untouched.  The chorus was absolutely inspired in their rendition of two short Karen Carpenter numbers, “Close to You” and “Goodbye to Love”.  A huge fan of Carpenter myself, I was extremely touched by the loving tribute given by Bill Spera.  Later, the stage exploded in a bawdy celebration of Lady Gaga as the chorus sang “Bad Romance” as a backdrop to BGMC’s nod to one of the most iconic dance numbers since “Thriller”.   In the “Soul Sisters” portion of the night, we were treated to “Ain’t No Mountain High Enough”, “And I am Telling You” (Philippe did this with every bit of passion and sophistication you might expect of a Broadway superstar), and a show stopping treatment of “Proud Mary” that literally brought down the curtain.  What a fantastic dance routine!

After intermission, Bette Midler, Barbara Streisand, Cher and Madonna were all given their due.  I especially appreciated the Glo-Stick rave that accompanied Madonna’s “Ray of Light.”  It put a huge smile on my face and completely made up for the“ping-pong-paddle” debacle that I so hated from the last concert- THIS is the way to use a hand prop, boys!  As the chorus presented “Diva of the Stage,” I was delighted to hear Barrett perform “Losing My Mind” from Follies.  It was so beautiful that it was hard to believe anything could top it, but as they prove again and again, the BGMC boys had a few more surprises up their sleeves.  Beyoncé’s “Single Ladies” had a particularly witty bite, and I could not be more impressed with the stellar dance moves of trio, Izzy Berdan, Evan Crothers, and Kaveh Riahi.  The night was topped off by everyone’s favorite diva, the woman who defined diva, Judy Garland, and the chorus gave us everything we could have ever wanted to hear; “Get Happy”, “You Made Me Love You”, and ‘Somewhere Over The Rainbow”.  There were eyes tearing up all over the Cutler Majestic.  Of course, never ones to end on a sad note, the chorus’ encore piece revved us up again as we all danced the “Last Dance” by Donna Summer.

There was so much to love about this concert.  The dancers were, as always, phenomenal in both spirit and execution, and the staging and choreography this time around was light-hearted and very well implemented.  The skilled hands of Music Director Reuben Reynolds, let the chorus with his legendary candor and humor.  I also want to take a moment to mention how much I adore Chad Weirick, the Assistant Music Director and Accompanist.  Did anyone else take a moment to watch this man play the piano?  He is captivating to watch and an unsung hero as a performer. His presence is a boon to the whole BGMC organization.

It has been a truly wonderful season for the Boston Gay Men’s Chorus.  I am continuously delighted by the quality and the passion that this group of performers bring to Boston and the greater community, and I am ever touched by the compassion and thoughtfulness put into each show.  I am looking forward to seeing what is in store for us next season!

Disco lights in action!  Photo by Tony Scarpetta

The Huntington Theatre Company continues to shatter expectations this season with their tender, wistful production of Prelude to a Kiss.  A shimmery, elegant stage filled with thousands of sparkling lights and garlands of flowers that fade effortlessly into a classic, almost European feeling city-scape, set the perfect backdrop of this tale that floats somewhere between fantasy and reality, where it remains grounded on its central conceit- the power of love to defy all odds.

The scenic design by Scott Bradley and the lighting by Japhy Weideman get top billing in this reviewer’s eyes.  I was literally charmed out of my seat by the beautiful detail and thoughtful whimsy that set the stage for beautifully.  While I was enraptured by the plot and the superb actors, I kept coming back to the stage over and over again, endlessly delighted by the tiny shifts of light and graceful transitions.  There is no question that The Huntington is a leader in effortless tech and thought-provoking stage pieces, but Prelude to a Kiss marries the technical savvy and the artistic beauty to an almost ridiculous degree.  I cannot say enough about the designers and production team for these elements alone.

Prelude to a Kiss is a wonderful story about an idealistic young couple whose lives diverge unexpectedly when an elderly man’s magic kiss transfers his soul into the body of the young bride.  The young husband’s struggle to reclaim his bride is a difficult road, he first must deny his own sense of reality, and then defy the odds to locate his true bride, in the decrepit and cancer-laden body of the old man.  This tale of love gives more pith than expected, when the audience finds themselves tearing up as they watch a young groom kiss the lips of an old man whose body contains his bride.  With a cast whose dramatic and comic performances are so strong that at points it is difficult to tell we’re watching actors at all, the production shines.

Brian Sgambati as Peter is our young groom.  He lights up the stage from the first moment and keeps us interested until the last moment.   His everyman voice is a perfect balance to his young bride, Rita, played by Cassie Beck.  The two have delicious chemistry and the playful levity of a young couple in love, and as they lay down the clues that the audience will piece together later in the show, we were swept away by their easy presence.  I felt comfortable believing I could be friends with either one of them, that they could be neighbors or coworkers that I see every day.  Beck is an unconventional beauty, she makes a stunning bride.  MacIntyre Dixon garners my utmost respect and devotion for his portrayal of the old man.  Both playful and mischievous, he had me believing that he was actually Rita inside his body.  I completely forgot the story wasn’t real; he was as convincing as the trapped bride as he is an old man.  Dixon’s performance was as touching as it was funny, and his physical presence on the stage was incomparable.  The ensemble was superb, especially Rita’s parents Dr. and Mrs. Boyle played by Michael Hammond and Nancy E. Carroll (who I thought was inspiring in The Savannah Disputation earlier this season).  Hammond plays a convincing and classic father figure with a gentle touch, and Carroll is dutifully matronly.  They complement each other well and are an excellent counterpoint to young Peter and Rita.

I was so entertained by this wonderful play.  Without violence, sex, or terrible scandal, the script is gripping and full of emotion.  The Huntington Theatre Company’s professional and polished presentation was a perfect gift to close their 2009-2010 season.

Rita and the Old Man before the kiss.