The Diary of Anne Frank Hawks and Reed Performing Arts Center October 26

REVIEW: Majestic Theater, Forever Plaid

Regal Theater, West Springfield, MA

through December 8, 2019

past Barbara Stroup

A slow procession of four male singers makes its fashion to a stage bathed in blue, while singing church building-like music that ends with the give-and-take "Shaboom." Defenseless betwixt two worlds later on the machine crash that killed them, the 4 members of the 50'southward boy band "Forever Plaid" must perform their evidence in society to progress to the time to come. And so begins this fantastic review of the best ballads of the era, sung flawlessly past Tomm Knightlee ("Smudge") the bass-baritone, Bryan Austermann ("Jinx") a high tenor, Brian Michael Henry ("Sparky") tenor, and Chris Coffey ("Francis") tenor. Their vocal ranges exceed these designations, and they contribute equally to a fabulously blended audio. The ballads of option accept more complex chord progressions than the standard practise-wop nautical chart, and so the audience never tires of listening to the lineup of love songs that fill this two-hour production.

Nor can the audience tire of watching, because Stacy Ashley's choreography fills the stage with motility. Using all of the infinite, the singers croon close to and distant from each other, and never lose the pitch. They are always graceful and sometimes even acrobatic in reviving the arm swings and leg movements that have come up to characterize the boy groups of the era. The choreography suits the words, sometimes whimsical, and oft even humorous as the audience recalls watching groups similar "The Lettermen" and "The Four Lads."

Deed I includes a list of hits that includes a bow to both Perry Como and Harry Belafonte. A high indicate for this audience member was their rendition of "No Non Much," and Bryan Austermann's "Weep" deserves special mention. Act Ii does non allow the attention to wander as it opens with every pianoforte pupil's duet, "Heart and Soul" (with audition participation). The music programme morphs hands into a hysterical "re-broadcast"of Ed Sullivan'southward greatest guests, a choreographic peak of entrances, exits and costume changes.

Director Ben Ashley states that he, "fell in love with this show" decades ago, and his devotion shows. He allows the music to be the focus and does not muddy the production with staging quirks or gimmicks. Majestic audiences who revere him every bit Buddy Holly, at present take a chance to appreciate his directorial skill and hope to see more from him. The indomitable and multi-talented Mitch Chakur and his group continue to provide awesome instrumental back up. With this production of "Forever Plaid, the Majestic Theater continues to fill up the house past offering audiences worthwhile theatre-going experiences.

REVIEW: TheaterWorks, American Son

TheaterWorks, Hartford, CT

through November 23, 2019

by Shera Cohen

Having experienced the world premiere of "American Son" at Barrington Stage Visitor in Pittsfield three years ago, seeing the play over again was a must. This powerful, dramatic, and timely story kicks off TheaterWorks' 34th year.

While "kicking" is used metaphorically, the word serves equally a perfect description of the crux of the play. "American Son" is a boot in the gut to audience members no matter what side y'all are on, or colour. Each of the 4 characters has his/her own perspective on situations. In the example of "American Son," the state of affairs is life or decease.

Racial tension at its height, racial profiling, interracial union, the race menu, and black lives affair; it's all there in your face, specially if your face is blackness. Information technology would accept been incommunicable for writer Christopher Demos-Brown to pen "American Son" 20 years ago, even 10 years ago to share the tension and meaning of its bulletin. At the very to the lowest degree, patrons likely would have felt that the plot was unfamiliar; yet in the 21st century the story is, as the phrase goes, "ripped from the headlines," and uncomfortable.

The key characters are an estranged couple; wife is black, husband is white. The set is a police station waiting room. The pair start off equally any worried parents would, waiting for their missing teenage son. with questions and malaise. Layer upon layer the plot adds questions, angst, remorse, speculation, and psychological and physical combat.

Ami Brabson (married woman/mother) paces every crevice of the room. She enunciates her words and speaks "white," having assimilated into the earth that her PhD requires. She speaks fast, as if rushing will make her crunch over sooner than later. Brabson displays internal torture, oozing out of every pore in her torso and every syllable from her lips.

J. Anthony Crane (husband/begetter) portrays a dad who has raised his son in the practical ways of life. Without ever seeing the main character, the son Jamael, the audience knows who this young man is, especially through his relationship with his male parent. Brabson and Crane make for a purposefully uneven match in a marriage which had issues fifty-fifty before it began.

Supporting actors John Ford-Dunker (young police officer) and Michael Genet (senior police officer), flesh out the story primarily through their oftentimes-used and hesitant politically right dialogue.

"American Son" is a tough play to scout, possibly more difficult for black audience members. It speaks to any parent who cares for and fears for his/her kid. Not beingness in either of these categories, "American Son" cannot help but affect everyone.

Kudos to TheaterWorks on its renovations. TW has turned their in one case dreary and somewhat confusingly navigational venue into a spiffy venue. Finally, the theatre looks worthy of the quality of TW'southward productions.

REVIEW: Silverthorne Theater, The Diary of Anne Frank

Hawks & Reed Arts Heart, Greenfield, MA

through October 26, 2019

by Shera Cohen

It might seem odd to think of the drama, "The Diary of Anne Frank" as blithesome, uplifting, and beautiful. The antithesis immediately comes to listen; i.east. sad, horror, and ugliness in a world that permitted (and oft still permits) humanity to become inhumane.

The play depicts 1 extended family in the middle of WWII, literally in the centre of the state of war's timeline in 1944 in Kingdom of the netherlands, at the midpoint of Europe's west coast. The Franks stand for a small group of familiar Jews, multiplied thousands of times to equal the millions of Jews and others deemed unsuitable to Nazi Germany as members of the human race. Still, "Anne Frank" is far more than than a epitome of thousands of personal stories that have and could have been written. Anne Frank'due south account is truthful, as are the people who live with her in a small-scale attic hide away. The real Anne is the star of her ain play, as so much of the script is attained from her diary; profound and serious at times, light and juvenile at other moments.

The producers and/or director have picked an exemplary troupe of 10 actors, viii of who are crowded into four rooms on a proscenium stage, every bit if sliced in half for the audience's view. John Iverson's set components are equally important as whatsoever 1 of the actors. Dark and dreary, cramped and claustrophobic, Iverson has designed a replica of the bodily site in 1944.

Samantha (Sammi) Choquette shines, even in the dramatic and bleak moments. At the same time, she portrays a typical young teenager who longs for fun and boys. Choquette creates a remainder of coquettish schoolgirl with a young woman who must abound up too fast due to her circumstances. Choquette is pure joy to lookout.

The leader of the family, in all ways secular and religious, is Otto Frank. Frank Aronson gives Otto a soft and tempered outside. At the same time, the audition can envision the wheels ever spinning in Otto'south head, as the burden of every moment of every solar day falls on him. Seemingly, without trying, Aronson represents a wise and extremely caring male parent, hubby, and friend.

Director Keith Langsdale moves the many characters around the multi-room set. In spite of the lack of doors from one room to another, it is ever clear where his characters are going and why.

Plays performed at Silverthorne Theater are worth seeking out.

Review: The Bushnell, The Book of Mormon

The Bushnell, Hartford, CT

through October 20, 2019

past Jarice Hanson

Photograph by Julieta Cervantes

Irreverent, hilarious, and sophomoric, "The Volume of Mormon" has become a cult classic. With book, music, and lyrics written past Matt Rock, Robert Lopez, and Trey Parker, the show won the 2011 Tony for Best Musical on Broadway and since 2012, has spawned touring companies all over the earth. The visitor shortly performing at the Bushnell is an energetic, fully committed group of 34 actors who apparently revel in presenting this over-the-meridian bear witness with tunes you might exist appalled to larn, linger in your head for days.

In that location is not a weak performer on stage, but magic happens between Liam Tobin (Elder Price) and Jordan Mathew Brown (Elder Cunningham), 2 devout Mormon missionaries sent to Republic of uganda to catechumen the natives to what they passionately believe is the true religion. These two charismatic actors work brilliantly together. One time in Africa, they observe poverty, a sadistic war lord, and a group of jaded villagers who have been the target of do-gooders for years, with no appreciable improvement in their lives. The Mormons are ill prepared for the horror of life in Republic of uganda, and thus, the fix for whether redemption may or may not have place that fuels the through-line of the story. Elder Cunningham, an inveterate liar, becomes an unexpected hero when he converts Nebulungi (a stunning Alyah Chanelle Scott) to Mormonism, having institute a fashion of expressing the idea of the Church of Latter Solar day Saints without ever reading or understanding many of the cadre behavior.

Audiences should realize that this blazon of evidence—peculiarly with authors who are known for their irreverent and non-politically correct blithe idiot box show, "Due south Park," will contain possibly offensive language and situations. Indeed, at least 2 audience members left during Act I, simply the comedy comes from satirizing faith and youthful passion for doing what you've learned is the "right thing."

What makes the show a real winner is the music. When Tobin sings "I Believe," he is so convincing that the audition tin can't help merely better understand a young man's zeal for making a difference in the world. When Chocolate-brown sings "I Am Here For Yous," his pity for his new friend shines through. Large production numbers are plentiful but two standouts are "Chilling Mormon Hell Dream" (with guest appearances by Lucifer, Hitler, Genghis Khan, Jeffrey Dahmer, and Darth Vader), and "I Am Africa" (Mormon and Villager ensembles) in which true compassion for humanity triumphs over cultural materialism and religious fervor.

The production was appropriately summed up past one of the audition members who said, "It's just so good to experience free to laugh this much." That'due south a tribute to a swell testify that understands its mission.

PREVIEW: Classical Music World Premieres, Tres Classique

Kimball Towers, Springfield, MA

October 16, 2019

There will be a earth premiering of the musical works of composer Timothy Ballan, on Oct 16 from 5:30-half dozen:30pm at Kimball Towers located at 140 Chestnut Street in Springfield. These solo and chamber works were each written within the past year, almost written specifically for performance by the Très Classique ensemble.

Of his compositions, Ballan says that "Each of the pieces is evocative of traditional Americana, whether in the landscapes and times they bring to mind or the folksong-like melodies around which they center."

The pieces on the program are equally follows:

i. Vocalise (for solo wordless vocalisation)

2. Glances Through an Arboretum (for flute and pianoforte)

iii. American Folk Vocal (work for solo pianoforte)

4. The River (for flute and piano)

5. The Hidden Thought (art vocal for piano and vox)

6. 5 Songs for the Countryside (five-motion work for solo piano)

Timothy Ballan is a composer and writer who has been instruction pianoforte in Western MA since the age of 17, and currently lives in Agawam. He holds a Certificate of Piano Educational activity from Valley City State University, and national certification in piano education from the Music Teachers National Association.

In his compositions, Timothy is mostly influenced by Western and not-Western folk music, melodic cinematic music, and minimalism. The scale of his nearly 100 works ranges from solo to symphonic.

Très Classique is supported by grants and donations, most peculiarly the Springfield Cultural Quango, to bring live classical music to underserved neighborhoods.

REVIEW: Southward Mountain Concerts, Emerson Cord Quartet

South Mountain Concerts, Pittsfield, MA

October thirteen, 2019

by Michael J. Moran

All the ingredients for chamber music heaven came together in this concert: arguably the finest cord quartet now before the public; 3 cornerstones of the string quartet repertoire over 3 centuries; and ideal acoustics in a storied venue.

Formed in 1976 and named afterward American writer Ralph Waldo Emerson, three of the quartet'southward founders are nevertheless members: violinists Eugene Drucker and Philip Setzer, who alternate first and second chairs, and violist Lawrence Dutton. In 2013 founding cellist David Finckel was succeeded past Paul Watkins, to whom the program notes aspect "a profound event" on the ensemble, infusing it "with a warm, rich tone and a palpable joy in the collaborative process."

The concert opened with first violinist Setzer leading a relaxed performance of Mozart'southward belatedly (1789) Quartet in D Major, K. 575. An arrestingly gentle opening "Allegretto" set the stage for a lyrical "Andante," a lively "Menuetto" and trio, and a serene "Allegretto" finale. The Emersons' trademark technical precision was enhanced by a sweet and singing sound.

Moving ahead to a century later (1878), the programme's start half ended with a glowing account of Dvorak'due south Quartet in E-flat Major, Op. 51 with Drucker as first violinist. A sunny opening "Allegro ma non troppo" precedes a melancholy "Dumka," or Slavic lament, a graceful "Romanza," and a rousing "Allegro assai" finale, partly in the rhythm of a fast Czech dance called the skocna. The players captured the full range of the quartet's shifting moods with unerring accurateness.

Suspension was followed by a gripping rendition, with Setzer back in the first violin chair, of Shostakovich's Quartet No. 5, in B-flat Major, Op. 92. Though written in 1951, it was not performed until after the death of Stalin in 1953. Selzer asked the audience to imagine the quartet'due south effect on its first listeners, subsequently a menstruum when Shostakovich and other Soviet artists were routinely persecuted for their piece of work. The Emersons played the 3 continuous movements – an earthy "Allegro," a haunting "Andante," and a stark "Moderato" – with eerie intensity.

The first flavour in the 2nd century of this iconic chamber music serial founded in 1918 by Elizabeth Sprague Coolidge could not have ended on a higher annotation.

REVIEW: Hartford Symphony Orchestra, Rhapsody in Blue

Hartford Symphony, The Bushnell, Hartford, CT

October 11-13, 2019

by Michael J. Moran

To launch the HSO's 76th anniversary flavour and her own 9th flavour as its Music Manager, Carolyn Kuan selected an all-American program which fittingly began with the traditional season-opening singalong national anthem, backed by a projection of the American flag behind the stage of the Belding Theater at the Bushnell.

The concert proper kicked off in loftier gear with Leonard Bernstein's "Candide Overture." In an elegant, refined account, Kuan's careful balancing of orchestral sections at a barely restrained tempo revealed more inner detail than oft emerges in a live performance of this exuberant score, but with no loss of the requisite excitement.

Kevin Cole

Long recognized as one of the earth'south leading Gershwin pianists, Kevin Cole next played  an energetic rendition of that composer's virtuosic "I Got Rhythm" Variations, followed past an fifty-fifty more bracing presentation of his jazzy "Rhapsody in Blue." Kuan and the musicians supported him with brio in both works, particularly principal clarinetist Brusk Claret'southward sinuous have on the opening clarinet solo in "Rhapsody." Standing ovations brought Cole dorsum on phase for two solo encores: his own dazzling embellishments on Gershwin's "Fascinating Rhythm" and, ane more time, "I Got Rhythm."

In a brief interview by Kuan betwixt pieces, Cole told her that he had probably played "Rhapsody" over a thou times past now. Even more remarkably, he has been deaf in one ear since 2018.

The concert closed later on intermission with a vibrant account of what many critics consider "the great American symphony," Aaron Copland'south third. Written in 1944-1946, it incorporates the composer's famous 1942 "Fanfare for the Common Human" in its final motility. Committed playing past all HSO sections nether Kuan's dynamic leadership, from a spacious opening "Molto moderato," through a forceful "Allegro molto," a heart-searching "Andantino quasi allegretto," and a stirring last "Molto deliberato – Allegro risoluto," made a strong case for the piece.

The American theme of this program was also advisable to follow the third annual naturalization ceremony in which this year 10 Connecticut residents became new citizens of the Us on the Belding phase only before the Sat concert.

REVIEW: Playhouse on Park, Nunsense

Apologies to Playhouse on Park are in guild. Due to technical difficulties, this review is posting much later than expected. Luckily, there is still fourth dimension for readers to see this production!

Playhouse on Park, West Hartford, CT

through October xiii, 2019

Past Stuart Westward. Run a risk

Dan Goggin's silly, infectiously funny musical comedy "Nunsense" has institute a welcoming home at Playhouse on Park. Goggin'due south show first premiered in 1986, winning the Outer Critic's Award, was filmed for Boob tube's A&East Network featuring actress Rue McClanahan, and has spawned four sequels. Only it'due south always skillful to go back to the beginning.

The cast of Nunsense

The Footling Sisters of Hoboken, NJ are having a fundraiser to pay for the burials of iv of their sisters, who are among the 52 of their fellow sisters who've perished from tainted vichyssoise. Heading the Guild is the imposing Reverend Female parent Mary Regina (Amanda Forker) who is ably assisted past Mistress of Novices, Sister Mary Hubert (Brandi Porter). In addition, in that location'south the nuns' chauffer and physical education teacher Sister Robert Anne (Lily Dickinson), ever-forgetful Sister Mary Amnesia (Hillary Ekwall), and blithe Sis Mary Leo (Rachel Oremland). Despite some obstacles along the way, these habited ladies reach their goal.

First of all, the multi-talents of these five performers must exist praised. Since "Nunsense" is a pastiche of musical numbers and one-act routines, its structure is a bit loose. While most of the numbers are tuneful, they are generally unmemorable. The comedy also runs the gamut of outrageously hilarious to utterly lifeless. Examples of the one-time include the decision Human activity I when Reverend Mother inhales a bottle of "Rush" found in a student's gym locker, which causes her to slur her speech, literally fall and not go upward. The other is Sis Robert Anne's shtick that includes stand-up jokes and imitations of "The Wizard of Oz's" Miss Gulch (riding in on a bicycle and a witch's lid), Cher, Judy Garland, and even Katherine Hepburn. The depression points include Sister Amnesia's sadly unfunny boob routine with her lips moving to boot. Possibly it would take worked meliorate with simply the puppet visible to the audition.

Musically, these five women can truly sing and dance angelically: Sister Mary Leo's graceful ballet moves, the four Motherless Nuns snappy tap dancing (in colorful blue, green, black, and purple tap shoes from Costume Designer Lisa Ann Steier), and Sis Amnesia's lovely soprano. 3 numbers stand-out: Sister Hubert and Rev. Mother'southward duet "Just a Coupl'a Sisters," Sister Robert Anne'southward show stopper "I Merely Desire To Exist A Star," and especially Sis Hubert'southward grand finale, the Gospel-inspired, high-spirited "Holier Than Thou." Congratulations to Director/Choreographer Darlene Zoller and Musical Director Melanie Guerin for bringing this wonderfully, feel-skillful prove to local audiences.

REVIEW: Due south Mountain Concerts, University of St. Martin in the Fields Sleeping accommodation Ensemble

South Mountain Concerts, Pittsfield, MA

Oct vi, 2019

by Michael J. Moran

Chamber music concerts most often feature duos, trios, or quartets. This one presented an unusual program of one string sextet and 2 string octets, including the best-selling masterpiece of the genre and a brand new piece commissioned for the current ensemble.

Founded in 1958 by conductor Sir Neville Marriner and now led by Music Manager (and violinist) Joshua Bell, the London-based University of St. Martin in the Fields orchestra formed its sleeping room ensemble in 1967, co-ordinate to their plan notes, "to perform the larger scale chamber music repertoire with players who customarily worked together." The performers at Southward Mountain are all principal players of the orchestra.

Only ii days after giving its earth premiere in Columbus, Georgia, the ensemble opened the concert with British composer Sally Beamish'south 18-minute Partita for Cord Octet. She writes that since a partita is "traditionally a suite for a solo instrument," she treats the eight musicians equally both "a single entity" and "an ensemble of soloists." Incorporating subtle quotes from Bach, Handel, and Mendelssohn respectively, its three short movements sparkled with grace and stylistic diverseness in this nimble performance.

The program'due south get-go half concluded with a heartfelt account of the 2d string sextet by Brahms. Completed in 1865, the piece recalls the composer'southward deep infatuation of several years before with the young soprano Agathe von Siebold. From a glowing opening "Allegro not troppo" through a delicate "Scherzo" and tender "Poco adagio" to a life-embracing "Poco allegro" finale, the ensemble was deeply engaged.

Break was followed by a stunning rendition of Mendelssohn's octet, which quotes the same Handel theme as Beamish does. Dating from 1825, when the composer was only 16, its virtually famous move is the fleet "Scherzo," which these musicians played exactly as Mendelssohn specifies: "Allegro leggierissimo" (as fast and calorie-free as possible). They were equally commanding in the brisk opening "Allegro," the radiant "Andante," and the exuberant closing "Presto."

The scenic Berkshire setting in the wooded hills of Pittsfield and the warm acoustics of the 101-yr-erstwhile concert hall has attracted discerning audiences since 1918 to this historic early fall chamber music series established by legendary music patroness Elizabeth Sprague Coolidge.

REVIEW: Springfield Symphony Orchestra, Opening Nighttime

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

October v, 2019

by Michael J. Moran

To open the SSO's 76th season and his ain 19th season as its music director, Kevin Rhodes notes in the program book, that he selected three pieces only because he "really wanted to play each one for an opening night."

After a lively sing-along season-opening "Star-Spangled Banner," the concert proper began with the Overture to Johann Strauss, Jr.'s famous operetta "Die Fledermaus," named after a graphic symbol who attends a costume political party dressed as a bat. Orchestra and usher played this appropriately festive opener with a uniquely Viennese effervescence that he likely captivated from his frequent work in the Austrian capitol with the Vienna Land Opera.

John Novacek

Making his 2nd appearance with the SSO since 2016, American pianist John Novacek so gave a thrilling account of Rachmaninoff'southward rarely performed first piano concerto. Written when the Russian composer was simply xviii for his 1891 graduation from the Saint petersburg Conservatory, the piece was presently overshadowed by his hugely popular 2nd and third concertos. But Novacek'southward powerful advancement made a strong case for information technology, from the dramatic opening and emotional turmoil of the first move, to the lyrical beauty of the 2d, and the "virtuosic-ally" impetuous finale. Rhodes and the SSO supported him with equal intensity and conviction.

Novacek rewarded the audience'southward standing ovation with a delightful but knuckle-busting encore, his own "Intoxication" rag, which packed more notes into two minutes than even Rachmaninoff at his most demanding.

The program airtight after pause with what Rhodes called "an insanely cute work," Czech composer Dvorak's eighth symphony. Written in 1889, its four movements progress from a turbulent "Allegro con panache" through a quietly adventurous "Adagio" and a melancholy "Allegretto grazioso" to a jubilant endmost "Allegro ma non troppo." Under the maestro'due south kinetic baton, the musicians delivered an exhilarating rendition of the colorful 36-minute score.

For this concert, the ever-innovating Rhodes swapped the locations on stage of the cellos and 2nd violins, which were now at phase right, across from the first violins, and moved the bass section to the center rear, launching the new season with a rebalanced SSO sound.

REVIEW: The Goodspeed, Billy Elliot

The Goodspeed, East Haddam, CT

through Nov 24, 2019

by R.E. Smith

Liam Vincent Hutt equally Billy Elliot, Photo by Diane Sobolewski

The home of the American Musical is currently staging a show set in 1980'southward North Country England, which simply goes to prove that some dreams and struggles truly are universal.

In this case, eleven-year-old Billy is growing up in a rough and tumble coal-mining town, living with his widowed male parent, angry older brother and unfocused grandmother. The miners are going on strike, his all-time friend is slightly quirky, and Billy has no interest in the boxing lessons he's supposed to take. But when he stumbles into a "girls" ballet course the young "bairn" discovers that when he dances he feels "Electricity" and is given a risk to change his future.

Adapted from the 2000 moving picture, by original screenwriter Lee Hall (also lyrics), with music by Sir Elton John, the story transforms the Goodspeed into a Matrimony hall with an ever-changing mine shaft set designed by Walt Spangler, utilizing the performers to motion parts around and, at times hold pieces upwards. The staging is quite inventive. The choreography past Marc Kimelman, too, is exciting and original and diverse. The ensemble dance numbers are especially effective, like "Merry Christmas, Maggie Thatcher", when it seems every person in the theatre is in move. The entire prove has a crackling energy that feels credible even in the calmer moments, highlighting the theme of conflicts, large and small, that fill the story.

Sean Hayden equally "Dad" navigates through grief, acrimony, confusion and acceptance, making him very sympathetic even so at times quite funny. Michelle Aravena, as the dance teacher accomplishes the feat of being a rather sullen, downtrodden showstopper as she exhorts her pupils to "Polish". Every member of the ensemble cast is outset rate and given dainty moments to highlight them.

And then there's Billy himself, played at this functioning past Liam Vincent Hutt. In improver to ballet, he has to "angry tap," join in a kicking-line and give a little of the quondam razzle-dazzle. Simply he also has to act and sing and he does very well indeed on all counts. His Billy is not wise beyond his years, he is young and flawed and confused and Hutt conveys all this in a very natural style, without resorting to "cute kid" tactics. His duets with all-time friend, teacher and mother all serve to showcase a very natural, giving performer.

There is a flaw in the book: Grandma, played past Barbara Marineau, quickly becomes an audition favorite and has an of import, defining relationship with Billy, but after her delightful "Grandma's Vocal", she practically disappears until the final scene. Her absence is a bit distracting.

In that location is some salty, albeit British profanity, and talk of British class warfare, only the themes of solidarity, friendship, family unit and acceptance volition resonate with theatergoers young and old. As befits a show almost an eleven-yr-onetime boy, Billy Elliot bursts with boundless energy and an eagerness to please that is irresistible.

REVIEW: Hartford Phase, Quixote Nuevo

Hartford Stage, Hartford, CT

www.hartfordstage.com

through Oct 13, 2019

by Shera Cohen

Photo by T. Charles Erikson

If one discussion describes Hartford Phase'due south opening play of its 2019/twenty season it is "colorful." Exuberant costumes, lighting, wigs, set pieces, music, and language modernize the archetype saga of "Don Quixote" ahead five centuries and beyond. Playwright Octavio Solis has fashioned nearly every important character of the original Cervantes' novel and "Homo of La Mancha" musical into attainable figures for today'southward audiences.

For those who know the story, all is not lite and bright in this revised version of the Spanish Inquisition. This new Quixote maintains the pained sole of an aged man on his final journey. Jose'southward (Don Quixote) quest is to observe his Dolcinae, yet his family's programme is to forcefulness Jose into an assisted living facility. The updated antics of the play create obvious images from the novel and musical; i.e. a bicycle substitutes for Jose's trusty steed, a gigantic Good Year blimp for monstrous windmills. The play is brimful with fun, gymnastics, and froth, yet, not so subtle politics continuously pepper the dialogue into the 21st century.

Emilio Delgado, immediately recognized as a "Sesame Street" regular, portrays Jose/Quixote with all mannerisms, down to the minutia of particular, of both of his characters every bit naïve in his expectations of righteousness, bewildered as to how he can help those around him, warry of single-handedly trying to unwrite the wrongs. The audition apace feels sad that this human being must travail in his pursuit of his dream. It is nearly impossible to flick another actor in this demanding role, in which he takes center stage in every scene.

Nine actors portray three or four characters each. With precise direction from KJ Sanchez, in that location is never confusion of who's who. If Hartford Phase had prior concerns if its patrons would grasp much of the Spanish dialogue, no worries. Save for a few snippets from scenes, all is clear from watching the interaction on stage. Some in the audience referred to the dialogue at "Spanglish." In whatever case, nothing important is missed. Interesting to note is that every actor, all of whom make their Hartford Phase debut in "Quixote Nuevo," are of Castilian descent.

Juan Manuel Amador shines as Sancho Panza. While one-act seems his forte, the poignancy required in the last scenes rings true to his grapheme. By the way, Sancho makes skillful use of an former water ice cream cart as his ass.

Hartford Stage starts its season under new direction. The new team have a lot to be proud of.

Review: The Bushnell, SpongeBob Musical

The Bushnell, Hartford, CT

through October 6, 2019

past Jarice Hanson

It may be obvious that if there is a toddler in your life, "SpongeBob The Musical" is non to be missed. Could there be any way better to introduce a child to theatre than attention a total-blown, colorful fantasy of life in the undersea location of Bikini Lesser? In that location is a reason why this evidence was nominated for 12 Tony Awards in 2018 (it won only i, for Best Scenic Pattern). "SpongeBob" has a lot to amuse adults too, peculiarly with music and lyrics from luminaries similar Cindi Lauper, John Fable, David Bowie, Brian Eno, and many, many more. Merely along with the visual spectacle of astonishing costumes, wigs, projections, and special effects, the sheer auditory volume of this production is then jarring that you wonder whether children's' ears (also as developed ears) are being harmed by this technological seismic sea wave.

Making the transition from an animated television evidence to a staged product requires a definite suspension of disbelief. The story of a fast-food worker who becomes a hero when a volcano threatens his community makes a statement about climate change and racism as much as information technology plays with the thought that every-day items (like sponges, for example) tin can come up to life. Skateboards are a part of the show's innovative and very clever choreography by Christopher Gattelli.

The 25 members of the touring company at the Bushnell bring energy and sass to this musical, and present the audition with a sheer joy that is contagious. In that location are some standout performers. Lorenzo Pugliese equally SpongeBob is a charming hero, and Cody Cooley as Squidward Q. Tentacles steals the evidence with his energy and characterization. He also gets to perform in ane of the well-nigh artistic costumes in a show that prides itself on a lot of creative costumes. Meami Maszewski plays a number of characters, but when she sings in the function of Pearl Krabs she demonstrates that she has the blazon of vocalization that makes you want to shout, "more, please, more."

Photo by Jeremy Daniel

"SpongeBob The Musical" is the type of bear witness that is "theatre" every bit much every bit Cirque du soleil is circus. If there is a youngster in your dwelling house who grew up with the television show "SpongeBob SquarePants," it will probably be remembered every bit a cult classic. But for everyone else, information technology provides a measure out of how theatre tin can be a technological caricature while the bodily story but gets lost at body of water.

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Source: https://www.inthespotlightinc.org/2019/10/

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