by Don Church and Tony Schillaci, Critics On The Aisle™
Spamalot at the Palace Theater, Waterbury, on September 24 and 25. Photos supplied by The Palace, Waterbury
The Tony Award-winning Monty Python musical “Spamalot” premieres at the glorious Palace Theater in Waterbury for three performances on September 24 and 25. This most recent national Broadway tour will kick off the theater’s 2010-2011 Webster Broadway Series, sponsored in part by WTNH/MyTV9.
According to the Palace’s Sheree Marcucci, the show is “lovingly ripped-off from the internationally famous comedy team’s most popular motion picture, ‘Monty Python and the Holy Grail,’ and is the winner of three Tony Awards, including Best Musical, as well as the Drama Desk and Outer Critics Circle Awards for Best Musical.”
This fractured version of the legendary tale of King Arthur and the Knights of the Round Table’s quest for the Holy Grail, “Monty Python’s Spamalot” features a chorus line of dancing damsels and knights, flatulent Frenchmen, killer rabbits, flying cows, a legless knight and bawdy musical numbers.
Based on the Tony Award-winning direction of Academy Award-winner Mike Nichols and the riotous choreography of Casey Nicholaw (“The Drowsy Chaperone”), the show’s book is by Python veteran Eric Idle.
Sheree told Metroline, “The producers of the national tour were looking for a legitimate theater with a ‘WOW!’ factor that was close to New York where they could re-stage the show.” And Waterbury’s brilliantly restored 1920’s Palace Theater is one of the grandest, surviving, silent movie/vaudeville theaters in the world.
Spamalot Knights. Photos supplied by The Palace, Waterbury
The tour’s experienced and talented cast and crew will take up residency at the performing arts center for three weeks prior to the September 24th and 25th performances before embarking its 2010 tour.
This residency will offer the public exciting behind the scenes opportunities as well as ‘meet and greets’ with the director and cast members. This exciting theatrical premiere will be a positive economic impact on the city by having the cast and crew living, dining and exploring Waterbury after rehearsals and performances.
In keeping with the Palace Theater’s mission of being “a non-profit that enhances the quality of life for all people,” the Palace will be partnering with the United Way of Greater Waterbury to launch a SPAM canned ham drive that will be taking place September 7 – 23 at the theater. The Palace and the United Way of Greater Waterbury hope to collect enough cans of Spam to fill the Palace’s East Main Street windows. All SPAM donations will be distributed to local emergency-food pantries located in Waterbury.
Tickets to “Monty Python’s Spamalot” and the Palace’s 2010-2011 season shows can be purchased by phone at 203.346.2000, online at www.palacetheaterct.org or in person at the Box Office at 100 East Main Street. Groups of 20 or more qualify for discounted rates and should call the Group Sales hotline at 203.346.2002.
by Tony Schillaci & Don Church, Critics On The Aisle™
(l-r) Lewis Cleale and Kate Baldwin, courtesy of Westport Country Playhouse.
Take two terrific actors who have classic Broadway musical voices, give them a slew of hummable songs, place them in a set that is dominated by a fourposter bed, add a couple of talented pianists to play the score, and you’ve got a night (or matinee) of entertainment that is perfect summer-theater. fare.
The strong audience demand to see “I Do! I Do!” that the glorious Westport Country Playhouse has had to extend the run for three extra performances on Thursday, September 2 through Saturday, Sept. 4th.
It stars the much-praised Tony Award-nominee Kate Baldwin (“Finian’s Rainbow”) and Drama Desk Award-nominee Lewis Cleale (“Swinging on a Star”). The two-act, two-person show follows a duo, Agnes and Michael, from marriage through old age, with the various ups and downs associated with coupledom.
Tossed into this mix of the kissy-poo, lovey dovey, sugar- coated view of married is the advent of having children, an affair, a confrontation, reconciliation, boredom, children’s marriages, the threat of separation, more reconciliation and the blissful relief of old age. This is marriage idealized and sentimentalized ad nauseum even though lyricist Tom Jones did a bit of rewriting to make the tough times in a marriage resonate for today’s audiences. It was largely successful in showing the wide acting range of its two musical comedy stars.
But, not to despair – each phase of the marriage is accompanied by the lilting melodies of Harvey Schmidt coupled the meaningful and well-crafted lyrics by Tom Jones (“The Fantasticks”) who are
masters of Broadway words and music.
Kate and Lewis deliver each song deliciously, and several of the numbers have become standards: “What Is a Woman” and “My Cup Runneth Over.” The score is sung clearly and pitch-perfect by both Baldwin and Cleale, who deliver equally enthusiastic and seamless acting performances, under the sure-handed direction of the Tony–nominated and Obie-Winning Susan H. Schulman.
In addition to acting and singing, Kate and Lewis also have the daunting task of being prop masters, stage hands, and dressers. They move and remake the fourposter bed innumerable times during the two plus hours that they are in character, while also moving props to and fro and changing costumes on stage.
Depending upon which part of the program you read, the book covers either twenty-five or fifty years of marriage (we vote for fifty), yet the dominance of “he” over the subservience of “she” changes little. For those looking at marriage as an equal partnership, one has to recognize that this particular couple never achieves that goal. This was marriage in another time, another place in history.
Even when Agnes rebels, in the campy “Flaming Agnes” number, and the couple agree that “The Honeymoon is Over,” and later she gives into his father-knows-best whims, the book reflects an old-fashioned idea when love, honor and obey were rules for women, not for men.
The actors reflect the same kind of star turns that made the Broadway original, with Mary Martin and Robert Preston, a success. This show cries out for that benchmark level of shear talent, and Kate Baldwin and Lewis Cleale deliver memorably.
Once again Domonic Sack created a sound design that is flawless; every word, every note is heard and understood. The pianists, Alexander Boroson and Joel Fram, fill the theater with resounding music that is as effective as that of a full orchestra. And the costumes by Devon Painter allow us to pass from decade to decade without program notes….even the undergarments are statements of the era depicted.
“I Do! I Do!” is one of those shows in which the music, lyrics and performers outshine the play. Don’t miss this opportunity to enjoy the Broadway talents of Kate Baldwin and Lewis Cleale singing Schmidt and Jones, especially at the picturesque Westport Country Playhouse with its red-barn ambiance – a perfect setting for this period musical of love and marriage.
“I Do! I Do!” plays through Sept 4th at the Westport Country Playhouse. Tickets 203.227.4177 or www.westportplayhouse.org
by Don Church and Tony Schillaci, Critics On The Aisle
(l-r) Playwright Jacques Lamarre, Producer Camilla Ross and Actor Steve Sherman.
Connecticut playwright Jacques Lamarre’s new comedy, “Gray Matters” was one of thirty plays that premiered at the 11th-annual Midtown International Theater Festival in New York City in July. This Equity approved showcase then went directly to Mystic Art Center from August 6th through the 8th•
The play is a production of the Emerson Theater Collaborative in Colchester and its producer, Camilla Ross.
The four well-cast and talented actors in “Gray Matters,” members of the Actors Equity Association (ABA), are April Woodall as acclaimed actress Sarah Gray, Steve Sherman as aspiring actor Scott Leeds, Jen Anaya as ingénue Deja Smith, and Kathryn Kates as tough show-biz agent Miriam Burger. All four gave powerful and memorable comedic performances under the capable direction of Joshua Lee Ramos.
The story revolves around Sarah, who collapses onstage during a play-within-the-play performance, and is rushed to a hospital with a serious brain disease. She has no money and no insurance, and no prospects of future work, because she cannot memorize lines. In fact, much of her short-term memory is damaged, too, so even her moment-to-moment existence is compromised. Sounds like a great premise for a comedy, huh?
Enter high-voltage, prospective-paying roommate Deja; enthusiastic but dumb-as-a-stump fellow actor Scott, and tough-as-leather agent Miriam, all of whom try to cheer Sarah while at the same time encourage her to get back to acting. The antics of these well-written characters bring laughter and sympathy to Sarah’s predicaments that add weight to the play and explore the timely themes of loneliness, isolation, aging and professional crisis. With a trio of crazies as her main support system, she should be better in no time at all. Right?
(l-r) Actresses Sarah Gray, Kathryn Kates and Jen Anaya
Jacques has a keen understanding of women’s issues, and writes insightfully for female characters – he especially understands the challenges, both in showbiz and in “real life” facing women of a certain age. The zingers are fast and furious, the inside show business jokes are sometimes a bit too inside, but references to ‘hot flashes,’ Disney’s Broadway shows, and other topical woes strongly resonated with the audience.
This work in progress has great potential. A few tweaks and a slowing of some of the dialogue delivery and a bit of tightening will no doubt improve the talented Mr. Lamarre’s often laugh-out-loud play.
He’s definitely a playwright to watch because his plots, characters, themes, believable dialogue truly reflect his keen understanding of human nature, including its follies and foibles – a true and funny reflection of our times.
If laughter is the best medicine, we’re ready for another dose of Lamarre.
The show will play Hartford from September 9 – 12 at the Charter Oak Cultural Center. Performance information and tickets be can be obtained by visiting www.EmersonTheaterCollaborative.org. Tickets are $25 ($23 for students and seniors).
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.
