by Critics On The Aisle™: Elizabeth Lafontaine with Don Church & Tony Schillaci
Lauren Worsham and ensemble. photo By Diane Sobolewski
A far cry from the kitschy big tops of America’s hey day, the Grand Imperial Cirque de Paris dazzles the audience in the Goodspeed Opera House’s current production of Carnival! A revival of the popular 1961 musical, the show effortlessly blends a classic story of survival and love with the grit of the Moulin Rouge era.
The attention to detail that is paid by the theatre did not go unnoticed: the ushers in costume and the stage are realistic, yet whimsically decorated to represent the Parisian circus. Once the show began, the audience traveled right along with the circus cars, able to catch a glimpse into the precious but also tough lives behind the main stage.
The original book by three-time Tony-winner Michael Stewart, based on material by Helen Deutsch, is renewed by Francine Pascal in a classic sense, yet it still feels relevant and refreshing as it is performed.
The cast of the show is young and vibrant; delivering a performance that was thrilling, compassionate, and shocking all in a few short hours. And who can neglect to cheer for Lauren Worsham as Lili? She carried the bulk of the show – her vivacious voice and naiveté made her instantly likeable and sincere. It was very easy to feel a connection to her journey, as the actress seamlessly became the character. Her performance was ravishing, one of the highlights of the entire show.
Another showstopper was Mike McGowan as Marco the Magnificent. Marco’s greasy and egotistical demeanor came to life in his portrayal. He was the smarmy man you love to hate, but he was still mesmerizing to all of the audience, not just the “little mouse” – his pet name for Lili. McGowan had a strong command of character, as gazes were glued to his every swift movement on stage as the double-dealing snake of a magician.
Lauren Worsham, as LiLi, with the puppets. photo by Diane Sobolewski
Another standout was Adam Monley not as Paul, but as Carrot Top, Horrible Henry, Rocco, and Margarite. Although the role of the puppet quartet in the piece could have been trite, his delivery was endearing and a true high point of enjoyment. Who didn’t want to run up on stage and embrace Henry? And his voice behind the vixen Margarite was outrageous and hilarious.
The interaction of the puppets with Lili was sincere, creating a fantastical storyline within the realm of the entire show with endearing puppet design and deft staging by Robert Smythe.
The ensemble was extremely talented in vocals, choreography, and acrobatics. The cast’s exhilarating numbers would pleasantly surprise whoever would have thought that one couldn’t leap and kick in unison on such a tiny stage.
Choreographer Peggy Hickey and Aerial Choreographer Joshua Dean have created whirling dazzling ensemble numbers, complete with Dean’s expertise on the trapeze.
John Lasiter’s lighting, David P. Gordon’s set, Fabio Toblini’s costumes and Jay Hilton’s sound added to the seedy illusion of the down-and-out carnival. The scenes would transition from spectacular to dark and gloomy in seconds in tandem with the action of the show. Highlights in all three of these fields can be seen during the “Cirque de Paris Ballet” and “Beautiful Candy” numbers, as both are whimsical but not overdone.
Some of the comedic performances felt forced, especially during the “Humming (Tra La)” number, but for the most part the show had great fluidity and ease of performance and effect. The direction by Darko Tresnjak of some of the main cast members at times showed a lack of an emotional connection to each other and their roles.
The second act of the show succeeded far better than the first, but overall the whole show was an escape to a carnival of entertainment. The show is a perfect blend of emotional highs and lows, and is a must see for lovers of classic musicals. Love really does make this rendition of Carnival! go ‘round, enchanting the audience with its wit, passion, and romance.
“Carnival!” is playing through September 18. For tickets call 860-873-8668 or www.goodspeed.org.
Kathleen Turner and Evan Jonigkeit in HIGH. photo by Lanny Nagler
by Don Church and Tony Schillaci, Critics On The Aisle™
Intense, riveting, raw, graphic, honest, are words that can only suggest the impact of Michael Lombardo’s new powerful drama, “HIGH,” playing at Theaterworks until August 22 in downtown Hartford.
Although the lure of having a movie star in this world-premiere production is creating sold-out performances, another reality is that this play, directed by Rob Ruggiero, is breathtaking.
Ms. Turner is onstage during the entire course of the two one-hour acts. Her portrayal of addiction counselor Sister Jamison Connelly is so true that once the initial applause recognizing Kathleen Turner dies down, her character ‘Sister Jamie’ takes over completely.
Her boss, Father Michael, is played by talented and handsome Michael Berresse, who imbues his speech and movement with the kind of dedicated calmness and aura of many of the real priests we have known. Father Michael tries, with all his secrets, to remain in control of his addiction counseling clinic, even as Sister Jamie challenges his motivation and authority at every twist and turn in the compelling plot.
Enter the client-addict: Cody Randall has been ‘assigned’ to Sister Jamie. He is a drug dealing male hustler who is addicted to, among other drugs, injecting crystal meth. A suicide attempt has been sited as the reason for his being assigned to the church counselor, although Sister Jamie thinks there are other motives at play. She wants no part of counseling a determined loser for whom she expresses contempt, but she is given no choice. In these confrontational scenes Lombardo skillfully employs humor that grows out of some of the tensest moments in the play.
Critically acclaimed actor Evan Jonigkeit is stunning as Cody Randall. With an uncanny understanding of the character, the exotic-looking Evan uses what seems to be every nerve ending in his body to successfully bring Cody to life. We feel his pain as an addict yet at the same time can understand Sister Jamie’s lack of compassion for this manipulative street-kid.
In a key scene, in which nudity takes a major part, violence erupts between client and counselor. The raw tension, physical combat and battle of words causes us as the audience to watch in stunned silence. Here are two “forces of nature” in opposition.
The scene ends the first act, and at the conclusion of the battle, we, like Kathleen Turner, need to take a lingering pause – just to catch our collective breath.
David Gallo has created a minimal black-and-white set which works perfectly so as not to distract from the story. A chair and table, a door, or a wall can represent a church sacristy, a counselor’s office, or a filthy needle-strewn alley.
The play has had much pre-publicity regarding playwright Matthew Lombardo’s own addiction to crystal meth. His real-life story is revealed in the playbill, although this play is not autobiographical. Matthew, however, has created characters that are not only true, but are admittedly flawed and damaged. The play challenges us to confront our own flaws and addictions, but also asks us to assess, no matter how painful it is for us, our own damages.
Director Rob Ruggiero worked on this play having been given five gifts. The first gift is his knowing talent as a director who is an expert in well-paced story telling. The written words of Matthew Lombardo comprise the second gift. The next three gifts are Kathleen Turner, Evan Jonigkeit and Michael Berresse who make Jaime, Cody and Michael come to life as fully rounded characters.
A week or so after “HIGH” opened, a friend told us that she had seen it. Although we recognize that each person perceives drama with a different view, we asked “What did you think?” Taking a deep breath she said, “Wow, it was a lot to process. I’m still doing that.”
“HIGH” gives you a pass from thinking for two riveting hours. You don’t need to think. You just need to watch, listen and feel. Later, in the quiet moments when the processing of “HIGH” begins, you’ll think…..about addiction, about compassion, about motivation, about selfishness, and about our fragility as flawed human beings in the vastness of the universe.
“HIGH” at TheaterWorks at City Arts on Pearl, 223 Pearl Street, Hartford. Through August 22 only. Tickets: www.theaterworkshartford.org 860.527.7838.
The two Connecticut theaters that stand out as top professional training grounds for the most promising new cabaret talents are The O’Neill’s Cabaret Conference in Waterford and the International Cabaret Conference at Yale University in New Haven.
The first cabaret – in alphabetical order – is at the Eugene O’Neill Theater Center.
It opens on Wednesday, August 4 and thisperformance is FREE to the public. There are eight additional performances, including two featuring Cabaret Fellows – the most promising new entertainers chosen through auditions. The season concludes Saturday, August 14 with faculty and Fellows headling the Grand Finale Cabaret.
Michael Bush, the cabaret and performance conference’s artistic director,said of this year’s theme, “‘Say It With Music’ inspired by the Irving Berlin song…we certainly have a lot to say. Our work is now being recognized on Broadway and in the top cabaret rooms and concert halls, not only in America, but also internationally.”
August 4; FREE opening ceremonies and previewperformances. August 5: Tony-winner Leslie Uggams in her critically acclaimed show “Uptown Downtown.”
August 6: Tony-nominees Penny Fuller and Anita Gillette, “Sin Twisters.”
August 7: This year’s talented Cabaret Fellows in performance.
August 8: O’Neill Follies and Picnic, two-act evening featuring talents of entire conference, as well as Allen Harris, Aja Nisenson, Jay Rogers, and Lois Robbins with dinner break; picnic basket can be ordered in advance.
August 10: Nicki Parrot: “Peggy Lee, Big Instruments and Other Weapons of Mass Distraction.” August 11: Broadway and West End leading-man Brent Barrett.
Jason Graae is a Broadway song and dance sensation.
August 12: Cabaret Fellows show how much they have developed their performance skills this season.
August 13: “Stoned Soul Picnic: “The Songs of Laura Nyro.” August 14: The Grand Finale Cabaret – always ashow-stopping evening of great performances.
The other 2010 cabaret is the International Cabaret Conference at Yale University.
Auditions were held in throughout this country and overseas for the intensive nine-day teaching program in the art of cabaret performance.
The prestigious faculty includes Tovah Feldshuh, Rita Gardner, Jason Graae, Carol Hall, George Hall, Laurel Massé, Sally Mayes, Amanda McBroom, Sharon McNight, Pamela Myers, Erv Raible, Pamela Tate and Julie Wilson; piano faculty included Ron Abel, Tex Arnold, Michele Brourman, Mark Burnell, Steven Lutvak, Shelly Markham, Michael Orland, Alex Rybeck and Paul Trueblood. And Erv Raible is the executive artistic director and master teacher who is also a director, coach, publicist, consultant and talent representative.
Saturday, July 24: Acclaimed cabaret singer, Broadway and West End leading lady “Julie Wilson in Concert,”award-winner Tovah Feldshuh in “Tovah: Still Out of Her Mind.”
Sunday, July 25: “Cabaret in Concert: Our Illustrious Faculty: Tex Arnold, Tovah Feldshuh, Jason Graae, Carol Hall, George Hall, Shelly Markham, Laurel Massé, Sally Mayes, Sharon McNight, Pamela Myers, Michael Orland, Faith Prince, Erv Raible, Alec Rybeck, Pamela Tate, Paul Trueblood and Julie Wilson. Thursday, July 29: “A Funny Thing Happened on the Way…,” One of Broadway’s greatest song- and-dance performers, Jason Graae in “Magically Delicious!”and Theater World Award-winner Sharon McNight’s “The First Thirty Years – From Moose Hall to Carnegie Hall.”
Friday, July 30: “FABULOUS BROADWAY BABIES: Theater World award-winner “Sally Mayes in Concert,” Tony-winner Faith Prince in “Total Faith.”
Saturday, July 31: The talented Cabaret Stars of Tomorrow in concert.
All performances are at 7:30 p. m. in the Iseman Theater, 1156 Chapel Street, New Haven. Ticket are $35 General, $25 Seniors, $15 Students. Call 203-432-1234.www.thecabaretconferenceatyale.com.
Jason Graae photo courtesy of Jason Graae Facebook Page.
Leslie Uggams photo courtesy of Leslie Uggams Pressroom Website.
Dressed elegantly in a silver grey blouse and long jacket with a black skirt, Joan told of a life in the theater starting with overcoming her self-described “posh English-born accent” to acting with husband Evan Thompson and her children who have careers in the theater.
by Don Church and Tony Schillaci
Shoreline fans of the River Rep, the family troupe of actors who played at the Ivoryton Playhouse for nineteen years, were treated to a gift of laughter when Joan Shepard returned with her acclaimed one-woman show “Confessions of Old Lady #2;” this recently had a successful engagement at Don’t Tell Mamas in Manhattan.
The title was inspired by Joan’s character in a movie. The show gave Joan the opportunity to tell the story of her stage life, from age seven when she was personally cast in her Broadway debut by Laurence Olivier for his “Romeo and Juliet.” This illustrious beginning was followed by playing Tallulah Bankhead’s daughter and many other shows on the Great White Way. Joan will soon be going on a tour with “Jack and The Beanstalk” at age 77.
Although the husband-and-wife team spent many early years in Hollywood, Joan laughed that because they were considered TV and stage actors, and not “movie stars.” they were relegated by the movie society to the “D, F or G list.”
Joan and Evan, and their children, Jenn and Owen Thompson, trod the boards of the Ivoryton Playhouse where Joan did over seventy-five character and starring roles. Her one-woman show of delightful personal stories, song parodies, and a lively talk-back session was a happy walk down memory lane for her ardent fans on June 21.
Upcoming at the Ivoryton Playhouse are “The Buddy Holly Story,” July 7 – Aug 1; “Finian’s Rainbow, Aug. 11 – Sept. 5; “Driving Miss Daisy,” Sept. 29 – Oct. 17; “One Flew Over The Cuckoo’s Nest,” Nov. 3 – Nov. 21; and the family musical “Barnum, “Dec 2 – Dec 19
No matter how many times the legendary Elaine Stritch does any one show, it’s always opening night for her and the lucky audience.
Her “Singin’ Sondheim… One Song at a Time,” which she created premiered on New Year’s Day 2010, at the Carlyle in New York City, just weeks before her 85th birthday. She admits to being “Unstoppable, I’m afraid. Why not?”
And she was again unstoppable for 90 no-intermission, show-stopping minutes – much to the delight of the full house – at the Hartford Stage Company’s summer home at the wonderful Roberts Theater at the Kingswood-Oxford School in West Hartford.
When the house lights went down the superb show band conducted by pianist Rob Bowan played Ms. Stritch on to thunderous applause. She was radiant in a stunning two-piece black outfit with black stockings all of which set off her white hair and simple diamond jewelry. Elegant and graceful just like the star herself. God-damned classy, as she might say.
She introduced the show by talking about the songs she was going to perform in this tribute to Stephen Sondheim, but was quick to add that she was much too young to sing “I’m Still Here.” Too bad. Now we’ll never get to hear her do a song that’s perfect for her incredible skills and talent.
Ms Stritch never got a chance to play Mamma Rose in “Gypsy” so she treated the audience to her interpretation of “Rose’s Turn.” She would have definitively won a Tony for it because she’s also a great actress.
Another highlight of the evening was “Send in the Clowns.” It was a much appreciated preview of her upcoming co-starring role opposite Bernadette Peters (starting on July 13) in the Broadway revival of “A Little Night Music.”
Ms Stritch made expert use of her talented and charismatic conductor/pianist Rob Bowman who cued her whenever she was up on a line or lyric. He and she not only seamlessly covered those moments, but got genuine laughs from a savvy audience. And her voice, though no longer at its peak – whose is later in life? – didn’t matter because as with all singers it’s the ‘intent’ – knowing the meaning and deeply feeling the lyrics of a song. And she’s got it!
We have to save some well-deserved applause for Hartford Stage Company’s (HSC) artistic director, Michael Wilson, for again bringing back Elaine Stritch to Connecticut. She was last at HSC reprieving her Broadway triumph “Elaine Stritch at Liberty” in 2008. It won the Tony Award for Best Special Theatrical Event and the Drama Desk Award for Outstanding One-Person Show. We can’t wait for next summer’s lineup of the greatest performers in the musical theater.
The Tony award-winning Hartford Stage Company has a stellar fall lineup. Go to www.hartfordstage.org for details. Box office: 860-527-5151
