by Don Church and Tony Schillaci, Critics On The Aisle
Courtesy of Ivoryton Playhouse
If Mel Brooks himself were reviewing the Ivoryton Playhouse’s latest show, “The Producers,” he might write…. “You want clichés – we got clichés! You want stereotypes we got stereotypes! You want dancing Jews and singing Nazis? – Got em!”
This rib-tickling musical romp insults everyone from gays to grays. But who can stay insulted when the material is so Brooksian funny?
As Mel once said, “Funny is Money!” Who can argue with that?
Director Julia Kiley and choreographer JR Bruno have set an explosion of enthusiasm and mirth into the gleefully over-the-top performances of a wacky first-rate ensemble. cast.
R. Bruce Connolly as Max Bialystock bounces through his well-understood character interpretation of the nearly insane producer with boundless energy and a booming voice worthy of Yiddish theater! His “The King of Old Broadway” and “Betrayed” are outstanding and memorable.
Wannabe producer Leo Bloom, as played by Michael McDermott, morphs from a sniveling angst-driven accountant to a confident show-biz mogul. McDermott’s top-hat- and-cane “I Wanna Be a Producer” and his “Till Him” exemplify his vocal talent.
During the action, prior to the opening night of the show-within-a-show, namely “Springtime For Hitler,” the producer tries to entice a faaaaabulous director to work on this terrible show in a très-gay scene and ensemble number worthy of “La Cage aux Folles.”
Courtesy of Ivoryton Playhouse
Leading the charge of floating queens onstage is Carmen Ghia, delightfully played and sung with a comedic swish and a scream by Schuyler Beeman. William Broderick plays Carmen’s employer, elegant theater director Roger DeBris. Get it? Broderick’s voice is mellifluous and his legs are outstanding, as he appears onstage in a luscious black cutaway gown. The” madness ensues as gay stereotypes of every kind proceed to limp wristedly sing “Keep It Gay” – and the cast does just that! We were convinced!
Before the end of the first act, via the wonderful performance of Liz Clark Golson as secretary/actress Ulla, insults are hurled at Swedes, tits, and blondes in her number “When You’ve Got It, Flaunt It.”
Germans are insulted by Mark Woodard’s turn as Franz Liebkind in “Der Gutten Tag Hop Clop,” and little old ladies are lampooned as sex-starved dummies cheerfully tap
dancing on walkers while singing “Along Came Bialy,” a boffo first-act closing number.
But wait, folks – you ain’t seen nothin’ yet!
The insanity reaches its apex with the opening number of the pseudo worst-show-ever aptly titled “Springtime for Hitler.” Milkmaids, lederhosen, clomping, goose-stepping and seig-heiling Nazis whirl about the stage in joyous Third Reich euphoria. Even the demonic Hitler sings “Heil Myself’ to show that he’s just one of SS boys! What could be wurst?
Even though it’s shocking to see the swastika so joyfully bandied about, Mr. Brooks manages to make damned fools of those damned Hitlerites and their insane leader. And although, Max Bialystock, the “producer” is actually hoping for his show to be a flop, it is, in reality, just like the real show at Ivoryton, a major hit. Who knew how much fun Jews, gays, Nazis, little old ladies, and homeless Broadway beggars could have on the stage all at the same time?
Courtesy of Ivoryton Playhouse
The orchestra conducted by John S. DeNicola provides a fine musical framework in the ensemble numbers “Opening Night,” “Prisoners Of Love” and the after-curtain-call song “Goodbye,” but some of the lyrics of solo numbers and duets were often drowned out by the too loud music. And a few of Tate R. Burmeister’s lighting cues went awry, especially when two performers were on opposite ends of the stage – the one on the left was twice in darkness. The other 99.9 percent of the lighting was character and scene appropriate.
Vivianna Lamb’s costumes and Tony Andrea’s sets blended perfectly with the idea of a schlock pseudo musical produced by a schlock producer. Both showed just the right amount of off-kilter clothes and scenery to make any investor wince. Wonderfully costumed Ulla, in her eye-popping re-decoration scene of Max’s office was sensational. Der German showgirls’ mad-Bavarian outfits brought belly laughs and the choruses’ ersatz Nazi uniforms made them look like the buffoons they represented.
If “funny is money” then there is no better investment in a good time than going to see to see one of the most ambitious and hilarious musicals ever produced at the Ivoryton Playhouse. Hop clop over and have a gut time!
Playing through July 31st, performances are Wednesday and Sunday matinees at 2 p. m. with evening performances on Wednesday and Thursday at 7:30 p. m, and Friday and Saturday at 8 p. m. Tickets are $40 for adults, $35 for seniors, $20 for students, and $15 for children. Call the Playhouse box office at 860-767-7318, or online at www.ivorytonplayhouse.org. Group rates are only available through the box office. The Playhouse is located at 103 Main Street in Ivoryton, Conn.
by Don Church and Tony Schillaci, Critics On The Aisle™
COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY
This first-rate revival of “West Side Story” is a more hard-edged tale of the Hispanic and Anglo gang turf wars on the streets of New York than the original 1957 production.
The theatrical and social conventions of the era neither allowed the use of authentic street language nor discouraged racial inequality. “West Side Story” is a perfect example of white-washing shows. In its original form it portrayed Hispanic gangs as the bad guys while making heroes of the Anglo gang members, and the verbal and body language was sanitized.
The 21st-century was the right time to bring authentic speech, non-bigoted characterizations and a more honest book to one of the theater’s most acclaimed musical productions. It already had a highly acclaimed score by Leonard Bernstein, powerful character-defining and plot-driving lyrics by Stephen Sondheim in his Broadway debut; and Tony Award-winning choreography by Jerome Robbins. So who better to rewrite the libretto than the legendary librettist, playwright, screenwriter, director Arthur Laurents? He wrote the original one for “West Side Story” and was never happy with many elements of his first effort.
He decided to re-write and direct this radically different version of the show. The only serious flaw in the “new” book is that Mr. Laurents retained some of the euphemisms such as “mother-lovin’’ “krup you” and “buggin” instead of using the authentic profanity that real people have always used on the street.. Laurents has succeeded in putting the Anglos and the Hispanic on a level playing field and given a realistic jolt of heat between Tony and Maria in all their love scenes, including the show-stopping duets, “Tonight” and “One Hand, One Heart.”
COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY
And the one song that so perfectly articulates the heart and soul of this musical variation on Shakespeare’s “Romeo and Juliet” and elicits the most profound emotional response from audiences – as all great musicals should but so seldom do today – is “A Boy Like That/I Have A Love.” This first sign of Sondheim’s lyrical genius says, “When love comes so strong, there is no right or wrong, your love is your life.”
Added to the greatness of Bernstein, Sondheim and Laurents the “West Side Story” stage explodes with some of the most exciting and energetic dancing ever seen in any musical, ever. And the ensemble is flawless; it leaves you breathless and exhilarated. Originally choreographed by Jerome Robbins it’s skillfully reproduced in this superb national company by Joey McKeely.
This revival of “West Side Story” on which this tour is based opened on Broadway to critical acclaim in 2009. It was written and directed by Arthur Laurents who died at the great age of 93 on May 5, 2011. This national tour company is deftly directed by David Saint. The West Side Story Orchestra is conducted by John O’Neill and associate conductor Paul McCaffrey with Steve Sanders on Keyboards, Rick Donato on drums and Michael Meza on trumpet – all superb musicians who make Bernstein’s music soar.
Kyle Harris as Tony and Ali Ewoldt as Maria give life, vulnerability and passion to their characters, while brilliantly interpreting the songs as though the words and music were written especially for each of them. The chemistry between Kyle and Ali is a rarity seldom seen in today’s current musicals.
Michelle Aravena as Anita is all fire, music and passion. She is bold, strong and takes command of each of her numbers. Ms. Aravena is a superb dancer/singer who is also a fine comedic actor as in “America” and then poignant and heartbreaking in ‘A Boy Like That/I Have A Love,” in which she warns Maria to quit Tony.
COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY
One of the levelers in giving equal weight to both the Jets and the Sharks is the use of Spanish lyrics in many of the songs. When the Puerto Rican girls are putting together an outfit for Maria to wear to the dance she and they sing “I Feel Pretty” first in Spanish and later in English, giving more authenticity to the song. In the neighborhood “Tonight” quintet, the Sharks chorus responds in Spanish to the threats and boasts of the Jets singing in English.
The exhilarating dancing and vocal talents of the ensemble are unquestionably five-star worthy. Each member of the cast beautifully wears his or her character like an alter-ego. Especially engaging is Drew Foster as Action, who shows us a slight madness in his characterization of a juvenile delinquent ready to explode. John O’Creagh as Doc, the owner of the drugstore hangout, nails his part when one of the Jets rips off some cigarettes from him and then asks “do you mind?’ Doc replies, “Mind? I have no mind! I’m the village idiot!”
“West Side Story” is not only a love story, but also one of bigotry, hatred, violence and in some ways, hope.
Even Arthur Laurents, in re-writing some of the libretto mentions that although this show was written some 54 years ago, we still haven’t learned, and the same prejudices and phobias exist, and in many places are worse than they were a half century ago. Yet to see “West Side Story” is an invigorating experience which, judging from the number of young people in the audience, might just, this time around, change some hearts and minds for the better.
by Don Church and Tony Schillaci, Critics On The Aisle ™
Opening Trio: Nick Anastasia, Talisa Friedman and John Debkowski. Photo Courtesy Brett Bernardini
The Spirit of Broadway Theater in Norwich has a hit in the making with the premiere of the new feel-good musical “SNOW.”
Exceptionally talented writer, composer and lyricist Sean Harley bills his melodic and comedic show as “a musical romance” – while also being very funny and reflecting serious societal themes that are still relevant today.
Set in New York during the ’69 Vietnam war protests, the Stonewall revolution, and the time of ‘free love’ and drugs, this fresh and engaging look at budding romance and friendship, gay and straight, has so many laugh-out-loud moments that the social issues are relieved by laughter without being trivialized.
With the exception of a manipulative folk-singer diva, all of the characters in “SNOW” are real and likeable.
SBT ‘veteran’ Shawn Rucker – one of our favorite actress/singers – plays Jet, a lesbian pot pusher with a foul mouth, a tough swagger, and the proverbial heart of gold – for women, that is. The object of her admiration is Georgia, a college student experiencing her first time away from home and alone in New York, played and sung beautifully by Talisa Friedman. Jet and Georgia are exceptional in the duet “I Like What I See.”
Also enraptured with Georgia is Kyle, a songwriter-singer, who is brought to life by the engaging and silver-voiced Nick Anastasia. He’s at his best in the beginning of the second act singing the beautiful ballad “Home,” which also closes the show.
If things aren’t too confusing by now, add to the mix John Debkowki’s adorable interpretation of Raven, the best friend of Kyle, whose interest goes beyond friendship.
Raven tells of his first inkling of same-gender feelings in the lovely song “Steven Ivy.”
The anthem song of the show is sung by Stephen Scott Wormley who plays a loveable bitch-slapping queen named Milton. Milton leads the ensemble in “Come Out” a rousing and uplifting celebratory number, which closes the first act, and is a patriotic ode to the gay-rights movement.
Another ensemble song “Kansas” is a clever tribute to “The Wizard of Oz.”
Composer/lyricist Sean Hartley has cleverly taken the recognizable Harold Arlen classic tunes and Yip Harburg’s words and re-invented them to fit the coming-out and being true- to- you theme of “SNOW.”
Although chock-full of timely subjects, from drug use to abortion to discrimination and police brutality, nothing in the show is preachy or dark. The light hand of the triple threat writer/lyricist/composer gently pens the issues with grace, humor and style, and the songs are full of lovely melody and harmony.
One minor adjustment could be made in the staging of “The Snows of Malibu” which was a trifle over-the-top ‘carnival in Venice’ attempt to suggest the mind-altering effects of cocaine use. A more subtle hand in both choreography and costuming here would serve the rest of the production well.
Yet make no mistake; if you miss a hit of “SNOW” this go-around at the Spirit of Broadway, you will be paying, sometime in the not too distant future, $147 a seat to see this soon- to- be Best Musical in New York, or Boston, or London. So, come out, come out, wherever you are.
If you go…
WHAT: “SNOW”
WHEN: Through June 5 WHERE: Spirit of Broadway Theater, 24 Chestnut St, Norwich, CT
TICKET PRICES: $21 Group Rate (10 or more), $30 individual
by Elizabeth Lafontaine, with Don Church and Tony Schillaci, Critics On The Aisle ™
Gabrielle Ruiz and Tony Yazbeck and the cast of "MY ONE AND ONLY". Photo by Diane Sobolewski
Imagine being transported to the high life of 1920’s Manhattan, with speakeasies, flapper dresses, bathing beauties, a Russian impresario, a lady mechanic and a daredevil pilot.
Welcome to the playful production of “My One and Only” at the Goodspeed Opera House. The 1983 Tony Award-winning show, largely based on George and Ira Gershwin’s classic 20’s scores from prior musicals such as Funny Face, takes the audience back to a time when money was almost no issue and elegance was standard. From the ushers dressed in top hats to the black and white films screened on stage during the performance, the theater was transformed into a realistic and compelling setting for the musical. While the book is of an era long gone, Gershwin’s classic score still has a modernity that enthralled the audience.
The story of “My One and Only” revolves around the unique romance between Edythe Herbert, a British aquatic nymph, and Captain Billy, an ambitious pilot and southern gentleman. The characters, played by Gabrielle Ruiz and Tony Yazbeck, moved the show along nicely through the plot with their melodic voices and skilled dance scenes, although there was a shortage of chemistry between the two.
Yazbeck’s dazzling dancing skills were superb, especially in the many spectacular tap numbers. The show stopping performance on the ladies side came from Kirsten Wyatt’s portrayal of the spunky yet sweet Mickey. She was able to deliver the dated script’s words in a witty manner, leaving the audience laughing at every joke, especially through her physical and rhetorical comedy. The male stunners – Alde Lewis Jr. as the suave Mr. Magix and Trent Armand Kendall as the personable preacher – were both believable and charismatic, something that livened up the acts considerably.
It’s easy to only highlight the main players, but here the chorus and ensemble’s efforts should be duly noted. Their tap dancing talents were the highlight of the show, especially the umbrella opening scene. The dancing in the show consistently elicited an enthusiastic response from the audience. It was lively, giddy, and showy, just as it should be in a prohibition era musical. The choreography of Kelli Barclay was clever and delightful, challenging enough to stun the audience but also to hold their interest. Her choreography made us want to buy tap shoes and dance down the street!
Tony Yazbeck and the cast of "My One And Only". Photo by Diane Sobolewski
The costumes by Robin L. McGee were both stunning and whimsical. They evoked the glamour of the roaring 20’s, but also had hints of contemporary fashion that livened up what could have been cliché. With the furs luxurious and the bathing suits cute, the costuming was the perfect fit for the show. The set was basic enough to allow for the various dance numbers, and relied heavily on Paul Miller’s screen and lighting projections. At times these were a little busy, but still helped to set the appropriate mood for the show. Our favorite sets included the movie theatre scene and the Manhattan car ride through Central Park.
Overall, “My One and Only” is a charming look into the glitter and glam of the 20’s through exciting song and dance numbers. The show is not meant to tug at the heartstrings, but instead this theatrical version of cotton candy provides necessary relief from the stresses of the real world. It is a fun musical fit for classic Broadway musical lovers and dance fanatics, a true masterpiece of tap dancing that is rarely seen anymore. Despite some minor kinks, the show is most definitely the opposite of that word that rhymes with “snappy”, and a must see for a night of fun, fantasy, and frivolity!
“My One and Only” runs at the Goodspeed Opera House in East Haddam through June 25th. For tickets and information, call 860-873-8668, or online at www.goodspeed.org.
The legacy of two Connecticut theatrical legends is remembered in the Saybrook Stage Company’s production of “Our Town” at The Kate in Old Saybrook.
Katharine Hepburn, a life-long resident of Saybrook, the winner of four Oscars, an Emmy, two Tony Awards and eight Golden Globes, is the name sake of The Kate – The Katharine Hepburn Center for the Performing Arts. Thornton Wilder who lived in Hamden, Connecticut and taught for many years at Yale University in New Haven, won three Pulitzer Prize-Awards, including one for “Our Town.”
To find out more about the new Saybrook Stage Company, we talked with Cosmo Corigliano, a spokesperson for the production.
The Resident: How did you become affiliated with The Kate?
Cosmo: “Actually, we have no official affiliation with the Kate, however, the hope is to have another production this summer – the exact times, play, etcetera will be decided after this production.”
The Resident: Why did you pick Thornton Wilder’s “Our Town” as the Saybrook Stage Company’s first production at The Kate – was it Thornton Wilder?
Cosmo: “That is part of it and also a desire to put on an American Classic that has universal appeal.”
The Resident: Who founded The Saybrook Theater Company?
Cosmo: “It was Terri Corigliano; [his wife] she is also an actor in the play. Terri has been volunteering at The Kate since its construction. She was involved in the initial fundraising events and continues to volunteer today.”
The Resident: How did you get director John De Nicola, who has done so many fine shows at the Ivoryton Playhouse, in addition to many other professional theaters?
Cosmo: “He came highly recommended from Patty Carver, a wonderful actress that lives in Essex. Patty will be playing the part of the Stage Manager in our play.”
The Resident: How did you find the cast members, stage crew and craft designers?
Cosmo: “We had an open audition and then combined that with some actors that had come highly recommended — the cast came together in a very natural easy way. Director John DeNicola, the director, arranged for the stage crew, lighting design and costumer.”
Each of those professionals, including actor Terri Corigliano, and the other experienced members of the cast, had a theater resume that would open any casting door from New York to Hollywood.
The award-winning “Our Town” has for years been an audience favorite for all age groups because of its universal and truthful themes about living in the moment and engaging in it fully – as envisioned by Thornton
Wilder, a master playwright and insightful storyteller, who captures the audience from Act 1 to the final curtain.
“Our Town” plays 8 p.m., Friday & Saturday, January 21st and 22nd. 3 p.m., Sunday, January 23rd. Tickets
are $20 for adults and $15 for children. To order Call 860-510-0473, 877-503-1286 or directly online at www.katharinehepburntheater.org. The Katharine Hepburn Center for the Performing Arts, 300 Main Street, Old Saybrook, CT.
