Donald Margulies’s Time Stands Still at The Lyric Stage Company centers around Sarah Goodwin (Laura Latreille), a photojournalist returning home after suffering injuries while covering the war in Iraq, and her partner, writer James Dodd (Barlow Adamson). As she recovers, Sarah struggles to reconcile her need to be out in the world with James’s desire for a more conventional, settled life.

While Sarah and James’s relationship is rife with conflict, Richard Ehrlich (Jeremiah Kissel), editor and longtime friend of the couple, and his new, much-younger girlfriend, Mandy Bloom (Erica Spyres) seem to have it all figured out. Richard and Mandy quickly progress from having just met to married with a baby as Sarah and James move from living together for eight years to briefly married and divorced.

Mandy’s bright-eyed optimism and naïveté are a stark contrast to Sarah’s cynicism and emotional distance. Mandy challenges Sarah (and the audience) to question the role of journalists as spectators to “the suffering of strangers” and the morality of taking photos rather than lending aid. However, Margulies leaves these themes—like his characters’ relationships—largely under-developed.

Director Scott Edmiston has assembled a terrific cast. Kissel as Richard was outstanding, and Spyres brilliantly balanced Mandy’s youthful exuberance with a subtle wisdom. I was somewhat disappointed with both Latrielle and Adamson. The energy Latrielle brought to her performance was amazing, but at times her intensity seemed forced. Adamson, while attempting to keep James subdued, felt a little flat and rehearsed.

Janie Howland once again makes excellent use of the Lyric’s unique space in her scenic design. Karen Perlow’s lighting design and Dewy Dellay’s sound design added just enough texture to the production without being distracting. Elisabetta Polito expertly matched costumes to the characters’ personalities.

All in all, this was a good production of a challenging piece.

Laura Latreille and Barlow Adamson. Photos by Timothy Dunn.

Wheelock Family Theater has a wonderful way of taking a familiar story, such as the Wizard of Oz, and truly making it their own.  By picking and choosing their references to the original, beloved film, director James P. Bryne acknowledges that there is a long history in this play without forcing the audience to draw comparisons to earlier versions. This is a wonderful introduction to live theater for those who may have already been exposed to the wonderful world of Oz or even those who are taking the journey for the first time.

The story of Dorothy, a young girl growing up on a farm in Kansas, who travels to a magical world when a tornado strikes the farm that she lives on, carries viewers to a magical world populated by munchkins, witches (both good and bad), flying monkeys, dancing scarecrows, cowardly lions and heart filled tin men.

I was pleasantly surprised that Wheelock did not attempt to recreate the Wizard of Oz film, instead, actors brought new life to well known characters, making it fresh and age appropriate.  Dorothy, played by Katherine Leigh Doherty,  was truly a standout, singing the iconic “Somewhere Over the Rainbow” with confidence and simplicity.  Her portrayal of Dorothy was sensitive, fragile and approachable, making the audience feel for this scared little girl who only wants to return home to her family.

The Scarecrow, played by Ricardo Engermann, shown less for his singing and more for his his dizzying dance moves and tumbling on stage.  I enjoyed Timothy John Smith as the Cowardly Lion.  His impressive voice boomed during his “King of the Forest” solo while Shelley Bolman’s Tinman was more subtle in his song and dance.  Combined with Dorothy, the foursome was believable, had wonderful chemistry and a playfulness on stage that was infectious. But one cannot forgot Toto, played perfectly by second grader Sofia Pilar Villafane.  Her barks punctuated songs, her small size allowed her to be picked up easily and her performance never overshadowed the action on stage, but instead, added to it.

The set, although used creatively, left this reviewer wanting more.  The sizable main piece that dominated the stage, was painted in a rainbow with two pieces that swiveled, allowing some dramatic entrances by the Wizard and Wicked Witch, but lacking any change from scene to scene.  Lighting helped set each new place Dorothy visited, but audience members were really asked to use their imagination to envision this piece as Munchkin Land, then Oz and finally the Wicked Witches’ castle. Some wonderful costumes by Melissa Miller helped with this process.  By far, the standout costume were when the group visits Oz. Bold patterns, brightly colored fabrics and fanciful designs helped the audience feel like they were in a magical place.

Director James P. Bryne seemed to take great care in making the (potentially)scariest scenes appropriate for the young audience.  The Wicked Witch of the West, played by Jane Staab,  was “not scary but more fun,” as one audience member commented.  Her cackle elicited more laughs than gasps and brought comedy to the role. In all, this solid production is not only appropriate for most ages, but kept the audience engaged from start to finish.  The well known score was punctuated by clapping and spontaneous singing by some of the younger guests (ok, probably some older ones, too) and seemed the perfect introduction to live theatre. As always, Wheelock has delivered a thoughtful performance and a perfect outing for upcoming February vacation!

Timothy John Smith, as the lion, being primped by the residents of “Oz”

Rothko! Fantastic! Inspirational! Yes!

I was very excited to to invited to view this new production at the SpeakEasy. Red, a Tony Award winning play from 2010 is centered on the great painter, Rothko in the late 1950’s as he finishes his master piece murals for the soon to be opened Four Seasons Restaurant in New York City. He embarks on a contemplative journey with his assistant that not only questions the art world in general but his own perspective on work, life and death. It is no wonder this play won so many awards. John Logan’s writing packs a punch at every turn and keeps you on the edge of your seat to see where he’ll go next. It’s almost like a high speed car chase – you never know when he’ll make the next turn, but you gotta stay alert or else he’ll lose you.

The scenery was so crucial to make this play come alive. While it was mostly a bare stage with the theater mechanics in plain view, the paintings, work tables, chairs and most importantly the turntable center the viewer on the action. It looks like a painters studio – paint on the floor, dirty and grimy, cigarette smoke filling the air, there is no specific time period other than the dictated time when the specific events outlining the play took place. I love how it feels so modern, but represents such a wonderful time in history. All in all, Cristina Todesco’s scenic design and Jeff Adelberg’s lighting were playful, useful and delightful with a bit of cheese thrown in the mix (the snow at the end was a cliche celebration). Gail Astrid Buckley’s costume design was not terribly memorable for Rothko, but more successful for Ken, his assistant, by focusing the viewer on his age and body. Bill Barclay’s sound design left me with a lot of questions which ultimately detracted from my experience.  His choice on some of the specific records played in the background took away from the action – the most prominent example of this is when the opening of the Mozart Requiem was played. Who can focus on the action when something so recognizable and moving is overpowering it? As an audience member who has knowledge of classical music, I found this to be a lazy and distracting choice.  I also did not understand the mechanical clanging that separated the scenes from each other. It was raw and rough and did not seem to coincidence with the vision of the play.

Thomas Derrah as Mark Rothko had great energy and verve to his performance. While I enjoyed his stage presence, sadly, at times I thought his performance bordered on yelling. I would suggest adding more vocal nuance in the future, it will only add dimension to the character.  Karl Baker Olson, as the assistant, didn’t quite reach the point of  embodiment that made me care about his character’s story.  My companion kept asking why we cared about his storyline at all.  In a play that is supposed to be about Rothko,  keeping the audience engaged in a secondary character can be a challenge, especially when there are only two characters!  The direction in this production was riveting. Clear sightlines, great placement and use of space endeared me to David Gammon’s directing. He truly brought the play to life with his work and it always seemed fresh. Another pit-fall of a two person play can be repetitive staging, but Gammon succeeded in keeping things inventive.

This was a great play to watch and see come alive. While the acting itself did not enthral me, the writing and solid stage direction were winners.  I would confidently recommend this show to others. It is a colorful view into the whirlwind mind of “an artist”- and artfully done.

Karl Baker Olson (right) plays an assistant to abstract expressionist painter Mark Rothko in this scene from the SpeakEasy Stage Company production of RED, running now thru Feb. 4 at the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End. Tix/Info: 617-933-8600 or www.SpeakEasyStage.com. Photo: Craig Bailey/Perspective Photo.

To all of the theatres who produce plays that run longer than 90 minutes, please be advised: Your play is not so special that it does not require an intermission. Your play is not so good as to live beyond the limits of bladder and stomach. Your play is not so fabulous that old men do not need to pee, and young women do not need to snack during its brilliance. If your play requires an intermission, please give it one. Especially if serving alcohol during the show.

That being said…  Three Pianos at American Repertory theatre is a play about three men in and out of German composer Schubert’s time experiencing a “Schubertiade.” What’s that? You don’t know what a Schubertiade is? Brief internet sleuthing tells me that indeed, this is a real word and not something the playwrights or A.R.T. made up to support the premise of this loosely strewn together play that explores . . . that delves into . . .

Well, I am not sure what to tell you about this play. I know that I was chastised by an audience member when I shared that I try not to read anything about the play prior to arriving at the theatre. I let the theatre itself – the program and the performance – influence my experience of the art. Did I receive the email from Diane Paulus with a lengthy guide to the play? No. Shouldn’t you read as much as you can about her brilliant vision for this play within the A.R. T. season? No. Haven’t you studied Schubert prior to coming so that you could recognize the musicians’ tampering with his work? Nope nopetty No.

I may never have attended a Schubertiade, but I have perhaps been accidentally involved in more than a few Shakesperiades – which I suppose would be intense conversations on the meaning of life centered on Shakespeare’s text.  This I know: “The play’s the thing / Wherein I’ll catch the conscience of the King.” The play is the thing that must move the audience. The play. Not the marketing, nor the blog, nor the email from the Artistic Director about her vision.

Three Pianos may have been more moving in its original incarnation at the New York Theatre Workshop, but that is not the production I am privy to review. This production seemed like a college play complete with trite ruminations from young men about love, adolescent hissy fits while drinking into a stupor, and design tricks that are straight out of an Introduction to Guerrilla Theatre textbook.  If neon lights shined on the audience and me one more time, I was quite certain that I would go blind. If yet another A.R.T. employee poured a glass of wine for the drunken man next to me, I was going to puke myself.  There was a lot of technical fluff on top of a play that was supposed to be about Three Pianos.

I’ve heard that the performances were moving in New York. In Boston, I could rarely hear them or understand them.  These playwright-producer-dramaturges were not adding enough “-actor” to their depiction and I found their performances flat—when I could hear or understand them.  The structure of the play itself was baffling or perhaps missing. I was once taught that the worst defense for poor play structure is, “But that’s the way it really happened!”  This whole play seems to be a series of moments that might have really happened, but they didn’t happen to me that night in the dark theatre. Actually, they didn’t happen to me that night in the neon-office-lighting-on-the-audience-to-make-a-point theatre.

I understood where this play was trying to go, and if I were to now regurgitate the marketing to you, I would tell you that this play is a drunken romp of youth centered on quintessential questions about the nature of love, life and death. That is what the play is supposed to be about, and I actually do think it is worth your time to go, drink a lot of red wine, and decide if get any of that out of this production.

-Mary ElizaBeth Peters

Our Town at Riverside Theatre Works made me cry. So, if you are one of the few people on the planet that don’t know the basic premise of Thornton Wilder’s Our Town, please stop reading this review and purchase your tickets for Riverside Theatre Works’ production, which is only open for a couple more weeks.

Yes, Our Town ends sadly and they both die at the end of Shakespeare’s Romeo & Juliet. If you were previously unaware of these two theatrical facts – run to see Our Town. If you, like me, are familiar with the play and have a fond affection for its message and place in American theatre history, you should probably still go see this production. However, if you are one that prefers your theatre as written, you may not choose to view this production. You might think it’s too long, you might not prefer some of the acting choices, and you might wonder what Wilder would think of it.

I read the programs at shows, though I’ve heard that many patrons do not. I read all of the producer’s notes, the director’s notes, and I even scan the donors’ list to see where a particular theatre is getting their cash – it’s surprisingly interesting! I recommend that you take some time to read as much of the program as you can before the house lights dim – instead of  just skimming the bios and looking for the scene breakdown. You learn interesting facts with which to frame your viewing of the play. I, for example, learned that Our Town’s director Jason E. Weber had Jerzy Grotowski, the famous Polish director, in mind throughout his process of creating Our Town. This put me off. Though Grotowski, like Thornton Wilder, explored the creation of theatre without the added spectacle of props and elaborate set design – the two dramatists are very different.

Jerzy Grotowski believed in blurring the line between the actor and the character – that the two become one in the act of rehearsal, and then they merge again with the spectator in the act of performance.  I don’t find that Our Town requires or even hints at this acting style. Yes, Our Town creates a play-within-a-play, and director Weber accurately questions the title Our Town, writing that, “Our Town means it’s your town, too,” he seems to over-lay an acting style onto this timeless, shared story that made me wish for an even simpler performance of this simple play.

Wilder’s Our Town is timeless, it is universal, and it is the Every Man of every American town. Our Town “is performed at least once each day somewhere in this country.” The text is deeply moving in its simplicity and in its truth. To overlay a strong acting style, or an even stronger director’s hand on top of the heavy stage direction dictated by playwright Thornton Wilder in the text, is unnecessary.  The most successful moments of Weber’s play are when he allows the actors to deliver the text in an unfettered, undiluted manner. There are many of these moments in the production, which make it an overall success.

Performances by Megan Cooper as Emily Webb and David Rogers as George Gibbs are spot on and just lovely.  They had me crying at the beginning of the soda shop scene with the realistic, wholesome depiction of their childhood love growing up.  Ms. Cooper as Emily is naturally emotive and articulate, showing perfect casting to this perfect role.  David Rogers as George is lanky, somewhat spastic in his movement, and wide-eyed while conveying George’s fear of growing up, of confessing his love for Emily, and even when speaking with his mother briefly before the wedding. He showed the audience the true youth of this character in his adult circumstance.

William Bloomfield, playing the part of the Stage Manager, was captivating. His every movement served a purpose, whether featured in a scene or not. The director made a wise choice to light him throughout the production, no doubt making for a hard night’s work for this veteran actor – but it was worth every moment. Bloomfield led us through this town – our town – with an ease and belief that he had done it all before, and would do it all again tomorrow. These three performances held the piece in its integrity, despite some directorial choices that may captivate, though they do not truly serve.

-Mary ElizaBeth Peters


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.

Opening the 21st Season (they’re finally able to legally drink!) at SpeakEasy Stage Company is Geoffrey Nauffts’ Tony award-nominated play, Next Fall. With a cast chock full of talent tackling some incredibly engaging issues, Next Fall was a stellar (and seasonally appropriate) kickoff to the season.

The central plot unfolds in a hospital waiting room where those close to Luke (Dan Roach) have gathered after he has been hit by a taxi. Those present include his boss Holly (a spot-on Deb Martin), ambiguous friend Brandon (Kevin Kaine), partner Adam (Will McGarrahan), and divorced parents (Robert Walsh and the incredible Amelia Broome). Interwoven with this narrative are flashback vignettes chronicling the history of Luke and Adam’s tumultuous relationship over the last several years.

Luke’s strict Christian beliefs (particularly regarding the afterlife) are in direct conflict with Adam’s lack of spiritual belief system, creating the central conflict of the piece. Nauffts tackles this from many angles, from Luke’s “not out yet” relationship with his family to the uncomfortable act of praying after sex with Adam. The portrayal of a gay protagonist struggling with what he perceives as his inherent sinfulness may sound like a negative stereotype from a cautionary film of days gone by, but is uniquely recontextualized by the other beautifully realized characters and situations.

While the story was incredibly compelling, the package it arrived in was much less so—the writing was rather unfocused at times. In a play with only six characters, I should not leave the theater wondering what the purpose of an entire character was; but unfortunately this was my takeaway regarding the character of Brandon.

This stellar cast more than made up for any gripes I had with the playwright. Everyone was in top form, but special praise is due to Amelia Broome and Deb Martin. Ms. Broome, always a delight to watch on stage, walked a beautifully accurate line of a southern woman coming to grips with the secret of her son’s homosexuality which she’s always known but never acknowledged. Her performance was incredibly true to life, and the monologue she delivers in the hospital chapel during Act II was particularly moving. Ms. Martin, as the boss-turned-best-friend of Luke and Adam, brought a special depth to the often one-dimensional stereotype of the gay man’s best female friend (while maintaining an appropriate amount of sass, of course).

Janie Howland’s inventive set blurred the lines between the past and present, becoming both the living room of Luke and Adam’s apartment and the waiting area outside Luke’s hospital room. The lighting design by Karen Perlow was effective at defining multiple spaces on the same set.

In retrospect, what began as a play I honestly did not care for has grown on me greatly. I highly recommend seeing this captivating production before it closes on October 16. The opportunity to see such talent assembled on one stage should not be missed!

Dan Roach and Will McGarrahan share an intimate moment in Speakeasy Stage Company’s production of Next Fall.

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”.

Hideous Progeny, produced by Holland Productions and running through July 23rd at the Boston Playwrights’ Theatre, is a phenomenal work exploring the lives of Mary Shelley, Percy Shelley and Lord Byron before Frankenstein was written. The play begins after Lord Byron had received much fame as a poet, and infamy as a sodomite, and before Percy Shelley had obtained much of an fame at all.  This historically fictitious exploration of the poets’ lives holds close to their biographies, but steps over reality into plausible, eerie reasoning behind each author’s work.  The production is strange, melancholy, and truly riveting as we watch the lives of these great poets intertwine and ultimately unwind in 1816.

Victor Shopov plays the insatiable Lord Byron, exiled from the UK for his scandalous lifestyle, and estranged from his wife and daughter.  Shopov is captivating in his impression of Byron’s sensuality, raw emotional experience, and stayed emotional expression. Shopov’s characterization of Byron as sexually available while coldly detached from deeper emotional bonds has the audience’s heart break as his truer nature is revealed later in the play.  Every moment of Shopov’s performance was repulsive, alluring and heartbreaking all at once. Shopov reanimated the life and true loves of Byron within his passionate performance.

In addition to Shopov’s performance, the entire ensemble gave a spirited and carefully prepared presentation of Hideous Progeny.  Their movement and gesture work, dialect and timing were all impeccable under the direction of Krista D’Agostino and undoubtedly influenced by Lydia Diamond’s dramaturgical work. The casting was perfect, most notably Victor Shopov as Lord Byron – just to throw one more compliment out to him – and Maggie Erwin as Claire Clairmont. This ensemble was striking in its visual and emotional fit with each other, and with the text itself. The play and its performances were prepared in great detail and this specificity added to the play’s overall heartbreaking, mysterious effect.

There is one, and only one, chief complaint against this production, which I have decided to call:
The Case Against Blackouts: Why Darkness Overshadows Modern Theatre

Well, okay  . . . perhaps that is an over-blown title to the simple comment I would like to share: Please, theatre directors in this year of 2011 and beyond, please please please, do not make your audiences endure a series of complete blackouts throughout your show, regardless of the ambient noise you provide, regardless of it being fifteen minutes or so into the first act of a two hour long play,  regardless of the great feeling when the scene punctuates by going to complete black – please please please do not leave your audience in the complete darkness listening to crickets, morning larks, and noise from the local Boston traffic, wondering such theatrical thoughts as, “Is this intermission, already?” “Maybe I can get my program out and figure out where we are in the plot,” or “Where is my gum? I can’t find my gum! Is there any time to find my gum?!”

This play, though riveting, was filled with blackouts that my theatre companion argued to be in service of the punctuated dialogue at the end of each scene —  to wipe the emotional slate clean after each intense passage.  I disagree, thinking that blackouts have an adverse effect on the current audience, mostly entertained by television, during which a blackout only means one thing: commercial.  Call me a crazy hippy, but I believe that the stage space is an energy center – an epicenter for the emotional reality of the play and its creators. When the complete blackout occurs, the energy is whisked away, and audiences are left to, or even encouraged to, leave the world of the play and return to their own lives.  Bah!  I would like audience to board the train that you put on the track, and keep on running with it ‘til it parks in the station around ten p.m.

That being said, Hideous Progeny is an amazing production, put on by a highly creative theatre company with attention to artistic detail that should be sought by all theatre artists.  I encourage all to attend, and students get $10 tickets! You must go.

Gundy, Specht, and Shopov.

The centerpiece for the bi-annual Boston Early Music Festival is Niobe, Regina di Tebe, a baroque opera by Agostino Steffani, first produced in 1688. People come from across the world for BEMF’s production every other year full of excitement at what will be produced. I could hardly maintain my composure as I sat down in the illustrious Cutler Majestic Theater for this production and waited to be swept away by the period music, costumes and scenery waiting behind the velvet curtain. Let me say, I was not disappointed at what I saw in the 4 hour production that followed!

First off, Paul O’Dette and Stephen Stubbs, the Co-Musical Directors for the show deserve the most praise. They continually bring these ancient masterpieces to life with verve and pomp and with so much style, one would never know how much of the music was missing before they laid their hands on it. Their combined geniuses when completing these pieces is unmatched and the orchestra is perfect at every turn. It is no wonder they lead these operas to such high acclaim time and time again.

Gilbert Blin, BEMF’s foremost Stage Director, continues to add to his reputation for artistic style with this production. His signature hand movements and 17th century picture perfect poses create a breathtaking view for Niobe and truly whisk the audience to a world so far removed from the present it’s hard to believe it’s actually happening in front of us and not in a dream. The costumes by Anna Watkins and superb set design (complete with baroque flying machines!!!) by Blin fill out the picture and are used to the fullest extent possible throughout the show. The set itself changed with grace and silence unmatched in so many productions in this area and the artistry in the painting of it is unmatched. While changes in costume are not in baroque practice, I feel different costumes for the main characters would have been a very welcome addition to this piece.

The singing was par for the course, and what I mean by that is superb! Philippe Jaroussky, the French counter-tenor playing Anfione, the king, stole the night. Breathtaking, dynamic, easy, romantic, stunning… I’m not sure I can praise him enough for all that he did on the stage. He could have sung the same two words the entire four hours instead of the show and I would have been just as happy. Amanda Forsythe, a regional favorite in period music, was come si come sa… She sang lovely, but the part of Niobe seemed a little too low for her voice and she did not showcase her strengths well. I also thought her non-dynamic acting presence was ill-advised for this show. I completely missed the ways Niobe used herself, her body, her voice and her intellect to get what she wanted when she wanted and therefore set up the drama for the propulsion of the show. Yulia Van Doren was a stand out for me with a powerful voice and innocence on stage as Manto, though I heard on other nights she was not as consistent. Colin Balzer as Tiberino made me smile with his antics and his voice alike. Charles Robert Stephens was arguably the biggest voice on stage playing Tiresia, but I noticed at times though he was supposed to be blind he was looking at where he was or things he was doing with his hands to make sure it was done right – especially when tying the lovers ribbons in the wedding scene. Poliferno played by Jesse Blumberg was my least favorite of the night. His core singing voice was there, but he was usually off tempo with the orchestra and his coloratura was no where close to remarkable. My favorite person on stage was José Lemos portraying Niobe’s nurse, Nerea. He perfected his womanly charm and attitude and made me burst out with laughter more than once with glee. There is no question that part was made for him! The dancers were a joy to watch through the evening, but at times it seemed were overused. Applause goes out to the choreography of Caroline Copeland and Carlos Fittante. The Niobids were lovely. The kids ranging in age were extremely cute and one could tell how much work they put into making things perfect. All that time and energy paid off and completely added to the show, especially in Jaroussky’s aria at the beginning of scene XIII extolling study – GOREGOUS!

I cannot thank Boston Early Music Festival enough for their strength and courage in taking on this piece and other opera’s like it. The shear beauty combined with the amount of work to make this production even possible is staggering to me. It was lush, energetic and stunning. I would never ask for my time back and would offer more of it to stay in the world they created just a bit longer. Thank you and you’ll see me with bells on in two years!