classic play

REVIEW:  Vivid dreams of what could be in Gloucester Stage Company’s affecting ‘The Glass Menagerie’ by Tennessee Williams

Posted on by The Sleepless Critic

This is a memory play. 

This description speaks volumes about legendary playwright Tennessee Williams’ autobiographical and deeply personal play, The Glass Menagerie.  De’ Lon Grant serves as narrator, the protagonist Tom and perhaps Williams himself focusing on the dysfunctional Wingfield family, the delicate nature of life, and the hope of what the future holds.  This memory play was the first of its kind and Tennessee dedicated it to his sister in real life.

De’Lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Exquisitely directed by Doug Lockwood, Gloucester Stage presents their 46th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28.  The show runs two hours and 25 minutes including one 10 minute intermission.  Click here for more information and for tickets.

Adrienne Krstansky and Liza Giangrande in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

There is a certain magic in The Glass Menagerie, even as dreams and reality collide.  Taking place during the Great Depression in the 1940s, hope and illusion inhabit a cramped apartment in Saint Louis, Missouri even as dusty dining room chairs are uncovered in a dank room.  Thin, translucent curtains, dining room chairs and a square of iridescent light shine in this space as De’lon Grant as Tom, Liza Giangrande as Laura, and Adrienne Krstansky as Amanda make themselves at home. Jenna McFarland Lord’s amazing set design infused with Aubrey Dube’s rich and crucial sound design is a breath of fresh air and holds a surprise which will not be revealed here.

Nia Safaar Banks successfully rewinds the clock to this vintage era with floral tea length dresses, wide brimmed hats, suspenders, and page boy hats.  Amanda Fallon blends inviting and haunting illumination to this production which is often moody, veering from the evocative red flash of dancehalls to soft and luminous candlelight casting vivid shadows in the background.

Patrick O’Konis and De’lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

In a long coat and brimmed hat, Grant weaves in and out of his dual role charismatically recalling Wingfield history and recollections while playing his part as Tom as the play unfolds.  The Glass Menagerie’s small cast holds challenging and meaty characters steeped in deeply rooted flaws.  Some of the family and societal issues that are brought up in Williams’ timeless work, The Glass Menagerie could have been written yesterday.  Working as a workhouse shipping clerk, Tom has grander dreams and secretly struggles as the man of the house since his adored father left the family.  Liza Giangrande portrays Tom’s helpful, quiet, anxious, sweet and imaginative sister Laura who has lived with a disability her entire life.  Pretty and slight with delicately braided hair, Giangrande delivers a meaningful performance as Laura exuding quiet strength in this sympathetic character as she struggles between escaping the world and a longing to fit in.

Liza Giangrande and Patrick O’Konis in Gloucester Stage Company’s ‘The Glass Menagerie’ Photos by Shawn Henry

Patrick O’Konis is enchanting as Jim O’Connor who dreams of a life beyond working in a factory with Tom.  Easygoing and ambitious, O’Konis makes quite an impression with Amanda and Tom while sharing some endearing moments with Laura.   

 At the center of the family is Adrianne Krstansky as Tom and Laura’s chatty, bubbly and yet anxious and controlling mother, Amanda Wingfield.  Visibly shaking at times and fiddling with her clothes, Krstansky delivers a brilliant and unsettling performance as Amanda who veers from sing song excitement and fixation to alarm and paranoia handing out backhanded compliments.  Dwelling on past charms and occasionally reminiscent of Blanche in A Streetcar Named Desire, Amanda fixates on her days of prosperity when she was the bell of the ball.  Ruminating on symbolic jonquils, she nitpicks, fusses, plots, plans and worries over her children’s success and happiness hoping to find Laura a husband. 

De’Lon Grant, Lia Giangrande and Adrienne Krstansky in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Boasting raw and compelling characters, The Glass Menagerie is an affecting drama that mixes relatable humor, cruelty, regret, and generational trauma, but also joy, sweetness and amazement.  Strong are the ties that bind.  It is poignant, hopeful and it unveils a certain beauty in this family’s unwavering strength in these hard times.

With exquisite direction by Doug Lockwood, Gloucester Stage presents their 46th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28.  Click here for more information and for tickets.

REVIEW:  Notes on greed and scandals in Central Square Theater’s thought provoking ‘Mrs. Warren’s Profession’

Posted on by The Sleepless Critic

Let the negotiations begin.  This is big business and with cigar in hand, Vivie Warren thinks she is ready for anything.

Set Designer David R. Gammons designates a perfect place for negotiations for the head and heart using a long conference table in a board room for this rich and enigmatic drama.

With sharp direction by Eric Tucker, Bedlam, Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. This production lasts two hours with one 15 minute intermission.  It boasts open captions that come in handy during the performance and the content has some adult themes.  Click here for more information and for tickets.

What is Mrs. Warren’s profession?                                                                                                

Herein lays one of a few mysteries among this group of complex and formidable characters who are keeping a few secrets of their own.  Condescending and at times, downright smug, Barlow Adamson steps into the expensive shoes of Sir George Crofts who declares himself a friend of Vivie’s mother, Mrs. Warren.  The show’s fascinating opening scene features Adamson and Luz Lopez as Vivie in an intellectual exchange proving that Vivie can certainly hold her own.  Even through Adamson’s humorous mansplaining, Vivie is a female force to be reckoned with.

Barlow Adamson and Luz Lopez in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is primarily steeped in at times heavy, but steadily shrewd and satirical comedy and social commentary.  Adamson impressively portrays Crofts with a mix of sardonic wit and charisma as he carefully sizes up seeming competitors including Nael Nacer as kindly Praed, Wesley Savick as alarmed and tight lipped Reverend Samuel Gardner, and Evan Taylor as young, impulsive and perhaps loose cannon Frank Gardner.  Nacer as Praed and Adamson as Crofts embark in cagey and captivating exchanges while smirking and belligerent Taylor as Frank cuts his father, Savick as Reverend Gardner down to size when Frank is not shamelessly flirting with both Mrs. Warren and Vivie.  Each man approaches Vivie and Mrs. Warren with their own motivations knowing that these strong willed women are also limited by a woman’s oppressive place in society.

Melinda Lopez, Wesley Savick, Nael Nacer, Evan Taylor, Luz Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Just three years after the publication of Henrik Ibsen’s Hedda Gabler, George Bernard Shaw published Mrs. Warren’s Profession in 1893.  These works feature women ahead of their time fighting against the limitations of a woman in that era.  Creating tension and isolation, Tucker seamlessly blends the classic with the contemporary through a notably vintage piece of staging reminiscent of Hedda Gabler where the whole cast is present, but not part of the action taking place onstage.  In this pivotal scene, the negotiation table doubles as a stage as Jeff Adelberg’s moody  and rhythmic multipurpose lighting gauges time is money as stock market projections flash above the stage.

Nael Nacer Evan Taylor Melinda Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession delves into status, conspiracy, hypocrisy, morality and complex family dynamics wrapped up in a couple of significant mysteries that directly affect the complicated relationship between absentee mother Mrs. Warren and her daughter, Vivie.  Costumer Leslie Held puts the cast in their business finest with the exception of Sam in a vestment, callow Frank and Vivie.  Standing out in a braid and classic business casual attire,  Lopez’s poker faced Vivie might be at the negotiation table, but she is ultimately in it for more.

Melinda Lopez and Evan Taylor in Central Square Theatre’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Luz Lopez portrays idealistic Vivie, a modern, unwaveringly sensible, and fiercely independent and innately mature woman who is meeting with her mother and woman of the hour, Mrs. Kitty Warren, depicted with critical yet measured affection by Melinda Lopez, for the first time in many years.  Vivie feigns a certain indifference to her mother, but feels displaced and lonely.  Though Kitty attempts to be more than cordial, Vivie keeps her mother at arm’s length for reasons that gradually unfold.  Bickering, mincing words, and pressing each other’s buttons, Melinda and Luz skillfully navigate their unstable mother and daughter dynamic which veer from a cold handshake to hospitable and then changing once again as guilt and promises are stealthily presented amidst negotiations. 

Melinda Lopez and Luz Lopez in Central Square Theater’s ‘Mrs. Warrens Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is considered a classic play and much of the quick witted content can be translated with ease into today’s society.  Suspenseful and intriguing, these chilling revelations may not be as scandalous as they might have been in 1893, but no less impactful, especially as negotiations go awry.

Nael Nacer and Wesley Savick in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. Click here for more information and for tickets.

REVIEW: TCAN Players’ classic comedy ‘Harvey’ full of imaginative charm

Posted on by The Sleepless Critic

We’ve all had that peculiar relative.  It might be an odd extended family member that raises a few eyebrows at family gatherings.   A sweet and wonderful person that is often misunderstood.   In the Dowd family, that person is Elwood P. Dowd, a mix of old fashioned charm, amiability, and humbleness who just so happened to have inherited his mother’s estate.  He is a wealthy bachelor that likes to socialize around town and graciously supports his socialite sister and niece.  However, Elwood has something that probably no other relative you might know has in common…Elwood claims a large bunny called Harvey is always by his side.  Is he crazy?

Now, Harvey is no ordinary bunny.  He’s a rather extraordinary figure to anyone around him and he makes an incredible impact in TCAN Players classic comedy, Mary Chase’s Pulitzer Prize-winning Harvey continuing through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts.  Click here for more information and tickets.

Photo courtesy of TCAN Players

This popular 1944 production was adopted into an Oscar-winning film of the same name starring Jimmy Stewart, steeped in affable charm as Elwood and accomplished Josephine Hull, who nabbed an Oscar for Best Supporting Actress as Veta.  TCAN Players’ Harvey boasts a wonderful cast especially from Jo d’Angelo as Veta.  D’Angelo perfects Elwood’s dramatic, intense, at times hysterical, but caring socialite sister who certainly goes through quite a lot in the production’s full three acts.  She portrays fed up to a tee and her sharp comedic skills have her swinging from collected to sheer panic in an instant.  D’Angelo takes on this meaty role so naturally that it is easy to get swallowed up in her unending drama. 

Ashley Harmon gleefully portrays conspiratorial and impressionable Myrtle Mae, Veta’s cooped up daughter longing for adventure.  Scott Salley has a gift for comedy as seen in previous TCAN productions such as First Things First and he holds his own as he portrays the straight man in this production.  As resident psychiatrist Lyman Sanderson, Salley’s smooth, seemingly knowledgeable delivery with a touch of arrogance makes for a number of amusing moments.  He has great chemistry with Sylvia Czubarow as beautifully beaming and complex nurse Ruth Kelly who offers a few zingers of her own.  David Dooks depicts seemingly level headed and imposing psychiatrist William Chumley with gravitas and some good-natured absurdity, especially in scenes with delightful John Alzapiedi as Elwood.  Though the role of Elwood is so clearly made for Jimmy Stewart which brought Stewart an Oscar nomination, Alzapiedi clearly does not lean on the portrayal and makes compassionate and forthright Elwood his own.

Directed with vintage flair by Lisa Astbury, Harvey is set in the present, but from the classic songs bookending the show, the polished set design by Tom Powers, and Donna Cabibbo’s detailed, retro costumes nods to the show’s 1944 setting.  Warmly decorated in floral trim and vintage portraits hanging from the Dowd’s library as well as rotary telephones hearken to that era.  The costumes are also faithful to the period ranging from women adorned in floral dresses, rabbit furs, and sophisticated hats to men decked out in trench coats, ties, and sharp suits. The set is divided into two sides, the latter a typical doctor’s office.

Harvey delves into some darker places, but never let you forget it is a comedy.  Elwood’s lightheartedness seems to diffuse any stressful situation simply by Alzapiedi’s soothing, influential voice and good nature so the show never embarks into disturbing territory.  It is an exploration into relatable family dynamics, a touch of greed, and the power of a little faith.

TCAN Players presents Mary Chase’s inventive comedy Harvey live and in person through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts.  Click here for more information and tickets.

REVIEW: Footlight Club’s ‘The Importance of Being Earnest’ clever and comedic fun

Posted on by The Sleepless Critic

It’s the age old question:  “What’s in a name?”  Apparently it makes all the difference in the world in Oscar Wilde’s classic play, The Importance of Being Earnest, a high society romantic farcical comedy written twenty years after The Footlight Club was established in 1877.  Full of adages about life and relationships as well as its fair share of ploys, elaborate scheming, love at first sight, and mistaken identity, The Importance of Being Earnest proves that some things are timeless.

The Footlight Club, the oldest running theatre in the nation, boasts renovations that include new seating and more at Eliot Hall.  Directed by David Marino, Oscar Wilde’s The Importance of Being Earnest continues at Eliot Hall in Jamaica Plain, Massachusetts through Sunday, June 15.  Click here for more information and for tickets.

It is amazing to see how far theatre has come over the years.  The Importance of Being Earnest is a lighthearted production told in three acts with each act separated by the drop of the stage curtain.  It is refreshing to see this production in vintage form, especially in a day and age where rolling sets and elevated scenery eliminates the need to close the curtain until intermission.

The Footlight Club The Importance of Being Earnest Michael Jay and Frances Price

Michael Jay as Jack and Frances Price as Lady Bracknell Photo credit to Elizabeth Bean/Footlight Club

Zach Best, David Alger, and Cara Guappone’s elegantly-detailed set, which includes a brass chandelier, seemingly expensive wall hangings, and plush furniture, reflect 1895 London, where high society’s seemingly biggest worries are when to dine, when to have tea, and when to go to the club.  However, even in Audrey Stuck-Girard’s regal costumes, the rich nevertheless have their own relatable issues whether it’s over family, love, and happiness.

What keeps Oscar Wilde’s show so relevant is its witty and hilarious script, showing even the simplest things in life can be the most elusive.  Its comic observations about family, love and society can be scathing, but possess a remarkable ring of truth.

The madcap, clever cast has impressive comic timing, especially Bradley Boucher’s knack for physical humor as Algernon Moncrieff.  Back in 2002, Rupert Everett starred as Algernon Moncrieff at age 43 in the film adaptation joined by a stellar cast that included Colin Firth, Reese Witherspoon, Judi Dench, and Tom Wilkinson.  At first glance, Bradley Boutcher looked too young to portray the suave and sardonic Algernon, especially as he spends a great deal of the show making quips about life as only a well-experienced individual can.  However, Boutcher’s smug smile and shrewd comic timing gradually won me over despite some misgivings and he became quite a scene stealer.

Footlight Club The Importance of Being Earnest Elizabeth Loranth as Gwendolyn and Michael Jay as Jack Worthing

Elizabeth Loranth as Gwendolyn and Michael Jay as Jack Worthing Photo credit to Matt McKee/Footlight Club

Boutcher as Moncrieff and Michael Jay as excitable and anxious Jack Worthing share an amusing, competitive camaraderie as they attempt to prove one wiser than the other.  It is fun to see two very different personalities collide over something as trivial as muffins.

In an extravagant feathered hat, Frances Price flourishes as outspoken, society-minded Lady Augusta Bracknell.  Price strikes a delicate balance between well intentioned and intrusive, making distinguished Lady Bracknell likable, even when her lips curve into a judgmental frown.

Kevin Brunton’s droll presence as Lane/Merriman enhances each scene while Gabrielle Jaques as seemingly sweet, wide-eyed Cecily and Elizabeth Loranth as elegant Gwendolyn are fascinating to watch as their characters become increasingly more complicated.  Jennifer Bean as quirky, love struck Miss Prism and Tim Joseph as amiable Reverend Chasuble round out this stellar cast and make Earnest much more than a name, indeed.

Footlight Club The Importance of Being Earnest Jennifer Beam as Miss Prism and Tim Joseph as Reverend Chasuble

Jennifer Bean as Miss Prism and Tim Joseph as Reverend Chasuble Photo credit to Elizabeth Bean/Footlight Club

The Footlight Club presents Oscar Wilde’s The Importance of Being Earnest at Eliot Hall, 7A Eliot Street in Jamaica Plain, Massachusetts through Sunday, June 15.  Click here for more information and tickets to Footlight’s Club final show of the season.