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

For tickets call 860 767-7318 or www.ivorytonplayhouse.org.

Copyright © 2004 – 2010.  Critics On The Aisle™. All rights reserved.

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Elaine Stritch

by Don Church & Tony Schillaci

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 85^th 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

Copyright © 2001 – 2010. Critics On The Aisle™.  All rights reserved.

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The Resident caught up with Preston Whiteway, executive director, Eugene O’Neill Theater Center, after the CT Critics Circle award ceremonies for a Kodak moment and a comment, “Winning the Tony Award followed by this one is, in a word, extraordinary.”

story & photo
by Tony Schillaci & Don Church

The 2010 Tony Awards came to New London when the Eugene O’Neill Theater Center and the Garde Arts Center hosted a televised broadcast of the event on June 13. Theater-goers gathered at the Garde to share the excitement of the O’Neill winning a Tony award for Best Regional Theatre in America. 

Preston Whiteway, executive director, Eugene O’Neill Theater Center, accepted the award from Michael Douglas, an O’Neill alumnus, saying, “It just reminds one what a place it has in American theater.” Preston thanked the towns of Waterford and New London for their support of theater.

The next night, at the Westport Country Playhouse, Preston accepted the CT Critics Cricle’s (CCC) prestigious Tom Killen Award for Outstanding Contribution to CT Theater.

The other Connecticut theater people who won Tonys included Steve and Ruth Hendel whose musical “Fela” won three awards out of eleven nominations: Best Costume Design of a Musical, Best Sound Design of a Musical,  Best Choreography.

The Hendels, who live in Waterford, and have earlier roots in New London and Norwich respectively, are on the O’Neill Board of Directors.

The hit show “Memphis,” produced by Sue Frost, Old Lyme, won Best Muscial, Best Book of a Musical,  Best Original Score (Music and/or Lyrics) Written, and Best Orchestrations.

The O’Neill is home to the Playwrights Conference, Music Theater Conference, Puppetry Conference, National Theater Institute, Critics Institute and Cabaret and Performance Conference.

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Carol Burnett received a standing ovation at the Palace Theater, Waterbury.

by Don Church & Tony Schillaci

 

When Carol Burnett made her entrance at the Palace Theater in Waterbury on May 22, 2,067 people gave her a rousing five-minute-standing ovation. You could literally feel the warmth of the audience’s affection for this brilliant and lovable performer. 

As the dazzling red and gold velvet curtain rose, a screen lowered and the theme song to the “Carol Burnett Show” played.  Onscreen, clips from her famous TV Q and A segment brought on a thunder of laughter and warmed up the audience with the give-and-take format that would set the style and pace for the evening.

Carol then made her entrance and was clearly touched by the waves of affection that rushed from the auditorium across the stage.  She was also in awe of the spectacular, renovated Palace Theater. She even commented, “Isn’t this a gorgeous theater?!!”

She asked for the houselights to be brought up, and ten ushers were spotted around the theater with microphones to ask Carol questions.  The first one, naturally, was, “Carol, will you do the ‘Tarzan yell’?”  Carol obliged, but, first, said she once did the yell in a crowded department store and was nearly arrested!

She was, of course, asked if she’d like to host “Saturday Night Live,” she emphatically said “No,” and added,” No one can top Betty White!”  But added that she would like to be on “Glee.”

Carol is right at home fielding questions and feels it should be totally spontaneous – no setups. She uses her considerable skills and talent to be extemporaneous in front of live audiences on TV and the stage. She wows and delights audiences with endless hilarious and reflective stories that cover her decades in the spotlight. 

Carol showed such classic clips as her send-ups of “Sunset Boulevard” and “Gone With The Wind.” Carol waltzed down the staircase in her now famous draperies-and-curtain-rod gown, designed by Bob Mackie.  Her famous line? “I saw it in the window and I just had to have it!”   She said the curtain-rod dress is now in the Smithsonian Institute.

As the show came to a close, the audience clearly wanted more, Carol  sang her signature theme “I’m So Glad We Had This Time Together,” pulled on her ear, and made her exit – almost.  The audience stood and cheered and clearly felt that they were glad to have this time with Carol.

If you missed her only CT appearance, you can still enjoy Carol’s first-person telling of her wonderful stories. Her new autobiography, “This Time Together: Laughter and Reflection” is available in hard-cover and paperback. And as # 2 on the “New York Times BestSeller List,” (May 22) -it too is a smash hit.

For upcoming shows at the spectacular 1920s Palace Theater in Waterbury go to www.palacetheaterct.org; For tickets call 203.346.2000.

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(c) 2010 Diane Sobolewski/Goodspeed Musicals

When all the creative ingredients of a musical are carefully measured, combined and lovingly stirred, the most delicious result is what Goodspeed Musicals is currently serving up with Irving Berlin’s delectable “Annie Get Your Gun.”                                         

By popular demand, this first-rate production has been extended through July 3^rd.  It has been refocused from a star vehicle into a fiery and amusing love story devoid of sticky sentimentality – a tribute to Rob Ruggiero, one of he best story-telling directors in the theater. The acting, singing, production values, and well-paced action are so natural and easy that Rob’s guiding hand is not in evidence, yet it takes a brilliant director to successfully pull off this seamless invisibility from start to finish with such polish.

 Rob’s production team, consisting of – among many other talented creative people – scenic designer Michael Schweikardt, costume designer Alejo Vietti, lighting designer John Lasiter, and musical director Michael O’Flaherty, wins our top-honors for its highly effective collaboration to achieve the director’s vision. It’s a milestone in this classic musical comedy’s long history as one of America’s most enduring shows: an explosive and witty re-telling of the competitive relationship and love story of the real-life Annie Oakley and Frank Butler with a tenderness that is both believable and entertaining.

The show-within-a-show, narrated by both Buffalo Bill Cody (David McDonald) and Charlie Davenport (James Beaman), begins with Buffalo Bill and the ensemble explaining that “There’s No Business Like Show Business” which sets the upbeat mood for the rest of the story. People near us were actually singing along with the ensemble!

From the moment that Jenn Gambatese, dressed in her buckskins as Annie Oakley, sings the first note of “Doin’ What Comes Natur’lly” the stage becomes electrified with her show-stopping voice, star charisma, and ‘natur’l’ acting abilities.

When Annie meets handsome Frank Butler, played with a confident, easy-going swagger by Kevin Earley, he tells her in song that “The Girl That I Marry” will not have a dirty face or tote a rifle.

Their two well-trained Broadway voices marry in this number, and set up an exciting anticipation of hearing them sing the duets “They Say It’s Wonderful” and the humorous “Old Fashioned Wedding.”  

Annie realizes that she’s at a disadvantage as a sharpshooter when she sings “You Can’t Get A Man With A Gun,” which gives Jenn the opportunity to not only let her voice shine but to show her considerable comedic talent.  Her big sound becomes light and softens in “Moonshine Lullaby” and later underscores her affection for Frank in the dreamy “I Got Lost In His Arms.”  

When Frank finally confesses to the cowboys that he’s probably in love with Annie in “My Defenses Are Down” it gives Kevin Earley the chance to fully utilize his sensational baritone, and the ensemble of cowboys an opportunity to strut their stuff, too.  

Andrew Cao and Chelsea Morgan Stock, as love-struck Tommy and Winnie, dance and sing their way enthusiastically and energetically in two numbers “I’ll Share It All With You,” and “Who Do You Love, I Hope.”  Noah Racey’s masterful choreography has them running atop a ‘moving’ Pullman car in a dare-devil routine.

In this Goodspeed revival, the orchestrations by Dan DeLange compliment the sparkle of Berlin’s lyrics that keep the simple narrative lively while exploring the changing personalities and relationship of Annie and Frank in a witty and delightful way.

Jay Hilton, who created the sound for this production, hits the bull’s-eye with his audible illusion of the sharpshooting Annie and Frank during the fierce competitive shooting matches, and when Annie tries to impress Frank with a new “trick” – gun that is.

Here’s a show that’s a perfect antidote for stressful times.  It’s melodious, the songs are recognizable, the story is well-told, the cast is marvelously talented, and the entire production is such fun!  

It has been a hit for decades with unforgettable star performances by Ethel Merman, Mary Martin, Ginger Rogers and Reba McIntire, among others.  But for anyone quick enough on the trigger to get a ticket for Goodspeed Musical’s version of “Annie Get Your Gun” it will be evident that the current Annie -Jenn Gambatese – is so right on target it should propel her to new heights in the theater.  

“Annie” is playing through July 3. For tickets and upcoming shows go to www.goodspeed.org or call 860-873-8668.  Goodspeed Musicals is also on Facebook and Twitter because there’s no business like show business so spread the word all over the place.

© Copyright 2010. Critics On The Aisle™.  All rights reserved.

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(l-r) Desirae, Ryan, Melody, Deondra and Gregory Brown

By Don Church and Tony Schillaci, Critics On The Aisle™

The gloriously restored Garde Arts Center in New London, built in 1926 during the golden age of silent movies, was the perfect venue for “The 5 Browns in Hollywood” on Friday, April 30.

These young critically acclaimed pianists – Ryan, Melody, Gregory, Deondra and Desirae Brown – became the first five siblings to be simultaneously accepted at New York’s Julliard School, one of the most prestigious music conservatories in the world.

If that was not enough of an achievement, they also packed their five concert pianos and moved east from their home state of Utah.

Their performance was a rare chance for southeastern Connecticut and southern Rhode Island audiences to see one of the most talented and talked about classical musical acts during their 2010 Spring National Tour.

These piano virtuosos received their first critical raves in February of 2002. People magazine dubbed them the “Fab Five” and they were quickly featured on Oprah who called them “extraordinary.” Entertainment Weekly says the five pianists “…. all play scorching piano. Thundering down on five Steinways together, they’re button-down cute..”

All of their studio albums, “Browns In Blue” (2007), ”No Boundaries.” (2006), and “The 5 Browns” (2005) have gone to #1 on Billboard Magazine’s Classical Album chart.

“THE 5 BROWNS IN HOLLYWOOD,” which was released on April 6, is a fresh take on arrangements from such Hollywood films as “Atonement,” “The Hours,” “Snow White,” “The Wizard of Oz,” “The Sound of Music,” and “Star Wars” – with a medley of scary music from a bundle of Alfred Hitchcock movies tossed in for drama!

“We’re really excited about this album because we’ve always been film fanatics,” says Desirae Brown. Melody adds “the reason this album is so fun to listen to is because you’ve heard the film music so often, but now it’s being performed in a totally new way. I mean, when have you ever heard it done with 5 pianos?”

If you missed this unique concert performance by five gifted performers visit the Garde Arts Center at www.gardearts.org for all the advance information on its impressive variety of programming coming soon to this dazzling Moroccan-inspired, Art-Deco theater.

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(l-r) Jeremy Peter Johnson as Georg and Nancy Anderson as Ilona in the musical “She Loves Me” at Westport Country Playhouse, now playing through May 15. In background, Douglas Sills as Kodaly and Christopher Shin as Arpad.

In these contentious times it’s refreshing to celebrate the return of a delightful musical bon-bon. “She Loves Me” offers the theatergoer a carefree, tuneful escape from reality by telling the sweet story of Georg and Amalia, lonely-hearts pen pals who eventually find their happy ending.

Composer Jerry Bock, lyricist Sheldon Harnick, and librettist Joe Masterhoffs’ love letter to romance, “She Loves Me,” ran on Broadway in the 1960s and again in the 1990s: First for 301 and later for 354 performances.  Its enduring popularity continues as a deserving choice to open the 80^th anniversary season of the utterly charming Westport Country Playhouse for a three-week run, which has been extended by popular demand through May 15.

Joe Masterhoff‘s libretto is based on the Hungarian play “Parfumerie” by Miklos Laszlo. The lovely set, designed by Riccardo Hernandez reflects the romantic notion of an elegant perfume shop of 1930’s Budapest with its murals of cherubs, clouds and fashionable ladies.

Two shop employees, Georg and Amelia, don’t hit it off at first and through this basic conflict the twists and turns of the plot are largely and thankfully character driven. It is a musical so we’re not revealing too much to say their relationship has a happy ending. It’s the whole of the production with its wonderful balance of cast, scenery, costumes, lighting, sound and music that amuses and delights the audience from the overture to the final curtain.

In this delicious telling of the tale the cast is well-paced by Westport’s artistic-director Mark Lamos, but a stronger directorial hand would have helped the two principals played by Jeremy Peter Johnson (Georg) and Jessica Grove (Amalia) to take the few rough edges off some of the dialogue and the singing.

Jessica Grove has a lovely voice, moves beautifully, and is leading-lady pretty, but she sometimes plays the role unevenly; it’s reminiscent of Doris Day’s perpetually indignant attitude in all those hit movies – and a bit too shrill when a lower voice range would have improved the delivery of her lines; as played she doesn’t win the necessary sympathy from the audience. But when she’s good, she’s very good.

Jeremy Johnson’s Georg is a fine, over-all performance, but either the choreographer, Jonathan Butterell, or director Mark Lamos should have helped with the movements in the “She Loves Me” scene which is played in front of the curtain; it sometimes lacked fluidity, but on the whole was delightful.

As one would expect in the second act of a love story, when Amalia sings the joyous “Vanilla Ice Cream” and George announces, in an incredulous way, that “She Loves Me,” do the anticipated sparks ignite the fires of passion that have been seething below the surface in these lovelorn people.

The expert  casting of the supporting players deserves special mention because these skilled and talented performers created highly individual and fully dimensional, comedic characters that could help keep this show running for months in any theater.

Christopher Shin as Arpad sings “Try Me” with the infectious exuberance and eagerness necessary to please his boss Mr. Maraczek, owner of the perfume shop. Maraczek’s song remembering his lost youth – “Days Gone By” – is delivered with both pathos and humor by the versatile actor Lenny Wolpe, whose outstanding performance is a joy to watch.

Michael McCormick as harried and groveling store clerk Ladislev Sipos creates a memorable comedic and, at times, tragic portrait of a mediocre anxiety-ridden employee simply trying to survive by never making waves.

Although an ensemble piece, it is difficult not to divert attention from the rest of the cast every time that Nancy Anderson, as Ilona Ritter, delivers a line, does a bit of business, or has a song to sing. Her turn in “A Trip To The Library” is as good as it gets in musical comedy. Ms. Anderson has one of the best-written parts in “She Loves Me,” and she knows exactly how to get the most out of every line and note of this first-rate musical book.  It’s probably unfair to say she is reminiscent of the fire and music of a young Bette Davis – and with those mesmerizing eyes – but she’s got IT.

The unique success of “She Loves Me” is that it is not a big, bold, or brassy musical. It is a sweet story told with charming, witty, poignant music, lyrics and libretto with each element clearly and distinctly revealing character and driving the plot. Domonic Sack’s sound design is perfection on this score. The clarity of the words as delivered by the cast is technically and artistically produced due in part to Mr. Sack’s skill.

Rui Rita magically enhances the mood, set, costumes, and actors with expert lighting. Wayne Barker’s musical direction, working with musicians Deane Prouty, Angela Marroy Boerger, Fred Rose, Louis Tucci and Lynette Wardle brings the score to its gloriously melodious life.

“She Loves Me” is lovely in its simplicity. It sometimes soars musically, sometimes just whispers, but it always makes you smile in the dark. It’s an appropriate gift to offer Westport Country Playhouse audiences on this 80^th birthday of a great American theater.

She Loves Me runs through May 15. Tickets 203-227-4177.  www.WestportPlayhouse.org.  And don’t miss “Dinner with Friends June 1 – 19;  “Happy Days July 6 – 26; I Do! I Do! August 10 – 28; and The Diary of Anne Frank September 28 – October 30.  24 Powers CT (off Rt.1), Westport

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Rob Ruggiero directing Jenn Gambatese as Annie Oakley.

by Don Church and Tony Schillaci, Critics On The Aisle™
photo by Elisa Hall, Goodspeed Musicals

When it comes to multitasking, Connecticut-based director Rob Ruggiero is a super-star with his recent directorial debut on Broadway, a gig at TheaterWorks in Hartford starring Kathleen Turner, and directing Irving Berlin’s  “Annie Get Your Gun” at Goodspeed Musicals, all in this spring season.

Multi-award winning Rob even found time during a rehearsal break to talk with us on the Goodspeed campus in East Haddam. He greeted us in his well-known, good-natured way.  Despite juggling so many shows and projects simultaneously all over the country – and overseas – he’s always upbeat, especially when it comes to talking about the importance of using theater for great story-telling.

When asked how he got the assignment to direct this classic American musical about Annie Oakley and Frank Butler, he was quick on the trigger with, “I have a good relationship with Goodspeed.  This will be my fourth Goodspeed Musical – the others are “1776”, “Big River” and “Camelot”.  In previous conversations with Goodspeed, “Annie Get Your Gun” was on my list.  Coincidentally it was on producer Michael Price’s list, too.”

Rob added, “In previous productions it was a ‘star’ show….Ethel Merman, Reba McEntire. This will be a ‘story’ show…they call me the ‘story guy’…so this will be the story of Annie and Frank.  It’s based on the 1999 revival script, it’s different from the Merman version because this is really a show within a show, but it has a different ending.  Don’t tell the ending!  I want your readers to see our production!

“A musical is only different from a play in that it’s more of a collaborative effort.  I work closely with choreographer Noah Racey in this show. It depends upon the song and the scene as to who is having more input in the movement of the cast.  We all try to articulate the story with a combination of acting, music and dance seamed together to illustrate the journey of the characters.  I also get involved in all other phases of the production – by collaborating with the costume designer, the lighting designer and the carpenters and other craftspeople working on the show.

“I have worked with the stage crew before, so they have gotten to know my style. The crew knows that we are all working for the success of the show and each detail is important. The support staff understands that we are all going to the same place.

“During “Camelot” I wanted all the stone castle walls and arches to look real, not painted. So to the scenic artists and carpenters participating in the project, I kept saying “not too painty, not too painty” to stress the realism I was looking for.  When I arrived for the first rehearsal for “Annie Get Your Gun” the crew was wearing t-shirts which read ‘It Won’t Be Too Painty!’  It’s that kind of energy and synergy that makes for a good show.”

As director, Rob has the central vision, and he compares the responsibilities of the director of a musical to that of an orchestra conductor.

“It’s a ‘rags to riches’ story about a simple country girl from Ohio who knows how to shoot and she makes it big in a Wild West Show.” Keeping the design as simple as possible, the show will still have lots of ‘wonderful, beautiful sets and costumes.’  The artistic team of Michael Schweikardt and Alejo Vietti is supported by an incredible team of producing and technical Goodspeed artists that will help to realize Rob’s vision. John Lasiter joins the team and Rob ‘can’t wait to see how he lights it!’

The score is being specifically orchestrated for this production, so that Rob and Noah have the option of reshaping the numbers to fit their collaborative vision. There will also be a big surprise as to how they will pull off “the trick” – one of the musical’s show-stopping scenic effects – it’s a piece of action and reaction that dramatically reveals a deep complexity in characters of both Annie Oakley and Frank Butler. Don’t miss it.

“Annie Get Your Gun” runs April 16 through June 27 at Goodspeed Musicals, 6 Main Street, East Haddam, CT.  The season’s other shows are “Carnival,” July 9 through September 18; and “How to Succeed in Business without Really Trying,” September 24 through November 28, 2010.  Box office: 860-873-8668 or www.goodspeed.org.

© Copyright 2010. Critics On The Aisle™. All rights reserved.

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