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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Val Sullivan, Joe Lanza, Jordan Ahnquist and Amy Barker

Photo:  Mark L. Saperstein.

What a spectacular little gem of a show the Speakeasy Stage Company has bestowed upon us with their holiday offering, Reckless by Craig Lucas.  Without a hint of irony, Reckless manages to offer true manifestations of holiday emotions, joy, thankfulness, forgiveness, fear, loneliness- all without being preachy or hokey.  With colorful and imaginative set dressings and whimsical costumes, the set is perfectly staged for an all-star Boston cast to weave an alternative to the traditional Christmas tale for their audience.

Reckless is an odyssey story, following Rachel (played flawlessly by Marianna Bassham whom I recently raved about in The Little Black Dress) through half a lifetime of Christmases.  Part Cinderella, part Alice in Wonderland, Rachel meets a host of characters that all proffer bits of wisdom or ill upon her as she makes her way from Springfield, MA on a world-wind tour of Springfield’s across the Nation.  Fleeing her husband Tom (Barlow Adamson) who sets the story in motion by putting a hit out on her life, Rachel takes a ride from dowdy Lloyd (Larry Coen) and ends up being taken in by him and his deaf (or so we think), paraplegic wife, Pooty (Kerry A Dowling, a Speakeasy veteran who I have loved since seeing her as Meredith in Bat Boy).  An unfortunate reappearance of Rachel’s husband sends her off again, encountering a host of characters brought to life with style by the fantastic ensemble (Will McGarrahan, Sandra Heffley, Paula Plum who rocked the stage earlier this season in The Savannah Disputation, and Karl Baker Olson who I am already growing quite fond of after his impeccably acted teenage gigolo in The Little Black Dress).  Caught between hysterical laughter and inexplicable tears, this show could not have been more thoughtfully cast or artfully acted.

It is so easy to fall into familiar trappings during the holiday season.  The list of Christmas Carols and Nutcrackers are a mile long, and even though there is something to be said for a customary Christmas tradition, there is something even more magical about getting a little treat from an unexpected tale.  I really was touched by Reckless.  In addition to the wonderfully acted story, the choreographed moments were exceptionally moving.  From the playful chase scene at the beginning of the piece, to the heart rending moment Rachael ends up living on the street- the sound-scape and the lighting are absolutely stunning.  The white bed sheets from a motel bed transition magically into a sheet of ice, and not unlike the legendary Eliza from Uncle Tom’s Cabin, Rachel glides across the stage while the audience remains breathless.  Scenic Designer, Cristina Todesco, Lighting Designer, Karen Perlow, and Sound Designer, Dewey Dellay, are owed a completely separate standing ovation for their teamwork on this show.  It felt a little bit like being inside a magical snow globe, even though we kept getting shaken up, it was so beautiful we hardly minded.

Reckless is everything you could want in a playful, avant-garde piece.  Speakeasy got it right.  Director Scott Edmiston gave us time to warm up to the unusual landscape before throwing too many punches at us.  We were invested in the characters long before it got too strange to understand.  We went on a journey where suspension of disbelief was not only possible, but embraced, nurtured and explored.  What a wonderful show to share with a loved one this holiday season.  Thank you Speakeasy, I feel like I’ve received my first Christmas gift, a little early.

A Ghost from Christmas Past – Rachel (Marianna Bassham, center) gets a surprise visitor on Christmas Eve (Photo: Mark L. Saperstein.)

Speakeasy Stage Company starts of their 2009-2010 season with a bang, offering Evan Smith’s The Savannah Disputation.  Part theology lesson, part situation comedy, Smith combines a cast of ridiculous but loveable characters with a somewhat serious subject matter- and the results are a delightful foray into the spiritual mind of four uniquely stubborn personalities.  Smith’s play is delightfully fun and thought-provoking, without being typical or preachy- and you actually learn a lot just by watching.  He also has some really entertaining program notes for those of us fated to see productions solo to help take up those awkward pre-show and intermission moments, “John Hagee, the popular televangelist,” he shares, “has been reported as having once called the Roman Catholic Church ‘the great whore.’”  After reading that little tidbit, I knew I was in for a treat!

Nancy E. Carroll and Paula Plum embody elderly sisters Mary and Margaret, a pair of devout Catholics living a quiet lifestyle of meals, tv, and church, surrounded by iconography that define the faith; saint statues, wall and palm crucifixes, even a three foot tall Virgin Mary statue-bank.  Timothy Crowe plays Father Patrick Murphy, Thursday night dinner guest and priest of Mary’s church, and Carolyn Charpie makes her Speakeasy debut as Melissa, “Catholic Missionary” who makes it her goal to convert Catholics into “real Christians.”   The cast is excellent, working together as a unit as well as shining individually, offering a hearty portion of doctrine with a strong dose of humor.

Carroll is stern and ornery, she was the spitting image of the stubborn, miserly great aunt that we all have, you know, the one who sends  you a crisp five dollar bill on Christmas inside a card depicting the three wise men on camels created to raise money for the local soup kitchen.  Plum as Margaret is the doe-eyed sister that you might expect to accompany Carroll’s Mary- gentle and thoughtful, movements stooped with self doubt.  The two worked in harmony in such a way that their mannerisms mirrored one another the way sisters might, but were still unique.  Crowe is the kind of priest that any Catholic would be glad to know- both those practicing and those who have strayed from the flock.  He’s funny, smart, and thoughtful with not an ounce of the creepiness that often comes with playing a man of the cloth- he does not fall into those trappings.  His anger is tempered and real, even his pudding eating was enjoyable to watch.  Charpie is the perfect actress to finish out this wonderful cast- she is energetic and bursting with life.  Her accent is excellent and never falters (props to dialect coach Amelia Broome) and her face has beautiful expression.  I’m not one to comment on someone’s facial qualities usually, but she has very authentic expressions and I am not ashamed to say, she did bring a tear to my eye in one of her more delicate moments.

The 90 minute play flies by, partly because Eric Levenson’s scenic design was fantastic- it looked frighteningly like my grandmother’s living room.  He didn’t miss a beat from the ugly shower curtain peaking from the off-stage bathroom to the ridiculous chintzy couch pillows.  I’ve mentioned before that I admire Levenson’s work, and he certainly did not disappoint with this set.  Andrew Duncan Will also provided a great sound design, peppered with wonderful rock-and-roll Jesus music.  Paul Daigneault led the team of crew and actors as director on this project.  I must commend him on his attention to detail and nuance.  This piece, I’m afraid, has the potential to get a little “a very special episode of The Golden Girls” but I think that he avoided going in that direction by downplaying some of the slapstick humor and darkening up some of the intimate moments just enough to make you stop laughing and start thinking.

Anyone who is a Catholic, was a Catholic, loves a Catholic or even KNOWS a Catholic is going to enjoy the humor of this show.  Never preachy, there are many opportunities to appreciate and think about all sorts of deep spiritual topics.  It was a great start to a really exciting season for the Speakeasy Stage Company.  They are advertising a really entertaining cabaret fundraiser called “Sorry Wrong Number” on October 5^th and 6^th featuring some of our local musical celebrities singing songs they would never be able to perform in real life.  Sounds like fun to me!

Mary and Margaret share a moment.  Photo by Mark L. Saperstein

Call me a theatre snob, (no, really, go ahead, I’m still 60k in debt for my Master’s in Theatre, it is the least you can do) but there just aren’t a lot of opportunities for me to see shows in Boston that I have never seen or heard much about.  That is why I jumped at the opportunity to review SpeakEasy Stage Company’s, Jerry Springer: The Opera.  I did not know a thing about it before I walked through the familiar doors of the Calderwood Pavilion this afternoon.  Despite the fact that I was attending a Sunday Matinee, the house was still completely packed, and not with the usual blue-haired crowd one expects to see at a matinee.  The abundance of enthusiastic twenty-something’s left a pleasant expectation of things to come.

Seated comfortably in my chair, I immediately took in the delightful stage details that made the set look startlingly like the Jerry Springer television show, from the exposed brick (impeccably crafted by Eric Levenson and crew) to the ominous warehouse fan.  From light’s up, surrounded by a chorus of voices imploring “Jerry, Jerry, Jerry” the audience is treated to a delightful romp through the pomp and circumstance of the famous (and infamous) day-time talk show.  From the montage of “audience members”; the pregnant teen, the hick-with-a rat tail, to the bevy of guests including cross dressers, jilted lovers, drug addicts, want-to-be exotic dancers, and KKK enthusiasts, to the unforgettable crew of body guards, camera men, and yes, even the man himself- there truly is no cliché left un-celebrated.  While act one fleshes out the “Jerry Springer Show Experience”, act two brings us to the bowels of hell, where the Devil himself makes an offer to Jerry (who is shot by a stray bullet meant for a KKK member in act one) that he cannot refuse; either propagate a show inviting Jesus, the Blessed Virgin Mother, Adam, Eve, and God to discourse with Satan- or be forced to fornicate with some rather unpleasant looking barbed wire instruments.  Through the circus of the Holy Family vs the Family From Hell, Jerry tries to impart his wisdom on those around him- leaving the audience, both fictitious and real, with one final parting thought before the music swells and he is led off to the next world by his guide, a woman dressed in Shirley Templesque finery, leaving his beloved head of security, Steve, weeping on the studio floor.

I was not disappointed by this premiere production.  The vocals, on the whole, were strong.  Particular stand-outs vocally were Ariana Valdes as Peaches/Baby Jane, and Joelle Lurie as Shawntel/Eve (who in my opinion, stole the show- bravo!) as well as an unexpectedly delightful and sparkly solo for Luke Grooms in his portrayal of God in act two.   Additional props must be given to the excellent ensemble who kept me engaged throughout, especially Matthew Varelia, who I could not take my eyes off of the entire time (I loved when he gave the pregnant woman’s belly a motor boat in the opening number and my companion LOVED when he implored a guest to “kiss your mom”).  Timothy John Smith did a reasonably creepy job as Satan in act two, and though his voice was not the strongest, his “angry look” was a great fit and was a great contrast to his “warm up man” role in act one.  Michael Fennimore played an almost flawless Jerry, evoking both his vocal tone and his mannerisms, and gave him the almost vapid “everyman” quality that we have come to expect from the talk show host.  I was disappointed, however, by Jared Troilo’s portrayal of Tremont, the cross dressing, gay guest in the first act.  Besides his voice being off pitch throughout, he did a lot of shouting and vague wiggling as “choreography”.  It is such a fun part in the show and I was hoping for so much more character and vitality from Troilo.  He almost looked bored.  My only other point of contention was that while I appreciated Seth Bodie’s costume designs on the whole, they did impede movement and make things look difficult and awkward several times.  I wanted to see Shawntell dance on her poll but it was impossible in the get-up she was in, and Brian Richard Robinson’s portrayal of Jesus (hysterical as it was) was impeded by having to constantly reposition the pieces of his robe.

I often say to myself, you know what I need to see more in Operas?  Tap dancing.  So a final word about the production is my sincere thanks for the delightful tap numbers that were staged in act two and post curtain call.  There is nothing like seeing a dozen people dressed as KKK members doing a little soft shoe (by the way, props to cast and crew for shooting that hysterical KKK video in The Eagle, of all places!).  Watching them pick up their robes to reveal the pants and bare legs of the ensemble was a treat.  The post curtain call homage to Jerry Springer was the perfect way to end the show, tap shoes blazing, blond wigs bobbing, I left with a huge smile on my face.

SpeakEasy Stage Company still has over a week’s worth of performances left in this run, Wednesday through Saturday 5/20 – 5/30.  You shouldn’t miss it.  It’s worth a trip out to the South End.  Beware all you commuters, though, parking is limited!  Tickets at http://www.speakeasystage.com/

Joelle Lurie as Shawntel