Think of something so exciting and beloved to you that it may even teeter beyond reason.
To Annie Wilkes, a particular book series by Paul Sheldon is so real to her and brings immense joy to her lonely existence. That is until she encounters that author face to face.
Sharply directed by Michael Hammond on the eve of Stephen King’s 50th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.
Company Theatre presents ‘Misery’ Carol Laing Stearns as Annie Wilkes and Joe Siriani as Paul Sheldon Photo by Zoe Bradford
Fear not.
Misery is written by Stephen King, but is much more of a psychological thriller than horror, with only a few squeamish exceptions.
King’s well known books such as The Shining, Carrie, Pet Cemetery, Salem’s Lot and It are tales that might conjure up a nightmare or two, but Misery rides much more on tension than gore. It also could stand as a personal account for King. Though the book takes place in snowy Colorado, director Michael Hammond wisely added a more personal touch by moving the production to fellow New England state Maine where several of King’s novels are set and where King himself resides. Oh, and Misery is also about an author and his number one fan.
Aside from being a horror mastermind, King is an intuitive observer of the dark recesses of the human condition which is one of the keys to his long term success. It is wonderfully evident in The Body (King’s novella that became the film, Stand by Me), The Shawshank Redemption, The Green Mile, and Hearts in Atlantis. Misery does not address supernatural or mythical monsters, but is a cautionary tale of obsession, loneliness, isolation and infamy while also delving into two characters tied together by literature deep in the woods of Silver Creek, Maine.
Company Theatre presents ‘Misery’ with Joe Siriani as Paul Sheldon Photo by Zoe Bradford
Misery is also popular as the acclaimed film that shot first time leading actress Kathy Bates to stardom and to her first Academy Award in 1990. Famous novelist Paul Sheldon, portrayed by James Caan, gets into a car crash in a snow storm. Former nurse Annie Wilkes, portrayed by Kathy Bates, rescues him and takes him to her remote cabin to recover. Buster, depicted by Richard Farnsworth, is investigating Paul Sheldon’s mysterious disappearance.
A trio of pivotal actors drives this intense and mysterious tale led by Carol Laing Stearns as Annie Wilkes. King drew inspiration from a real person for Wilkes and Stearns makes confiding, matronly, condescending and delusional Annie Wilkes her own, though Stearns’s drawl and some inflections resemble Bates’s depiction. Stearns delivers a chilling performance as she partakes in psychological gymnastics with Joe Siriani as famed author Paul Sheldon. The two have potent adversarial chemistry and though tough guy James Caan was known for his powerful and fierce acting roles, Joe Siriani depicts Paul Sheldon as a more sympathetic, self effacing, yet moody character. A particular highlight is Stearns and Siriani’s darkly humorous depiction of Sheldon’s agonizing writing process which surely drew on King’s own experiences and Stearns’s quick thinking in handling a technical issue. Peter S. Adams amplifies the production’s dire tension as suspicious, yet affable Buster who pops in from time to time.
The Company Theatre presents ‘Misery’ with Carol Laing Stearns as Annie WIlkes and John Stamos as Barkley
With weathered floral wallpaper, a large wooden cross, vintage candelabra, and dark floor paneling, set designer Ryan Barrow reflects Wilkes’s fondness for the past in a detailed, rustic, dilapidated and functional remote cabin with complete front porch surrounded by evergreen trees. Scattered about the cabin are Easter eggs from the book and film including a couple of pig statues in the dining room and bedroom. Dean Palmer Jr’s dynamic lighting demonstrates not only extreme weather conditions and the passage of time through a secluded window, but a creepy foreboding subtly lurking throughout the production. Sally Ashton Forrest’s darkly humorous sound design is peppered with vintage classic tunes that articulate each scene and along with Cathy Torrey’s regional costume design including plaids and boots and realistic makeup, these elements complete the stark isolation prevalent in the deep woods of Maine.
As a book lover, writer, and someone who has loved something that teeters beyond reason, Stephen King’s Misery is a suspenseful and dark tale of what happens when that love goes awry.
Company Theatre presents ‘Misery’ Carol Laing Stearns as Annie Wilkes and Joe Siriani as Paul Sheldon Photo by Zoe Bradford
Sharply directed by Michael Hammond on the eve of Stephen King’s 50th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.
The title track is more than catchy. Not only may it inspire humming the hook long after the show is over, but it’s a clever tribute to a saint that was motivated to accomplish her mission from God at all costs. It’s inspirational, fiery, and sung with a rock growl by Liza Giangrande, a charismatic actress with a dynamite vocal range who also portrayed Jo in Greater Boston Stage Company’s Little Women the Musical last year and received an Eliot Norton Award nomination for her performance. Giagrande was definitely born to do this.
Liza Giangrande and cast in Company Theatre’s Born to Do This: The Joan of Arc Rock Opera Photo by Mike Scott
Giangrande does a spectacular amount of heavy lifting for this role which contains a large repertoire of original musical numbers with a large cast that take her from Domremy, France to the City of Orleans at the age of 16 to attempt to accomplish what no woman has before.
With book and lyrics by Zoe Bradford and co-directed by Zoe Bradford and Sally Ashton Forrest, music and lyrics by Melissa Carubia with collaborator Michael Hammond and musically directed by Robert McDonough, Company Theatre unveiled the world premiere of Born to Do This: The Joan Of Arc Rock Opera live and in person at Company Theatre in Norwell, MA continuing through August 20. Click here for more information and for tickets.
Company Theatre’s Born to Do This: The Joan of Arc Rock Opera cast Photo by Mike Scott
Illustrations, painted detailed backdrops of the French countryside, and dank dungeons with wrought iron gates by Ryan Barrow are illuminated by lighting designer Dean Palmer Jr. with visual projections by Logan Puleikis. Purple lighting, flaming lanterns and intermittent celestial brightness blended with dynamic visual projections of a gorgeous church altar, a brilliant starry sky, luminescent flames and lit church windows create the mysterious and humble atmosphere of the Middle Ages.
Francesca Miele and Dru Daniels in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
Born to Do This: The Joan of Arc Rock Opera tells a broad and epic historical tale that delves into Joan Of Arc’s life, but also explores the Hundred Years’ War between France and England. The show has an uplifting overture and begins with a glimpse into one of Joan of Arc’s victories before rewinding the clock back to her childhood. Francesca Miele depicts the younger version of Jeanne with effervescent charm, determination, and chiming vocals. Miele and Anne Martland share some sweet scenes together as Jeanne’s conflicted and compassionate mother with the beautiful number, Angels All Around.
Zion Amparo and Francesca Miele in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
The enigmatic manner in which Jeanne learned of God’s mission is peculiar and fascinating involving Dru Daniels as Nanette and Zion Amparo as St. Michael. It is unimaginable, and yet so clear and extraordinary. It would have been nice to have seen Amparo’s encounters with Jeanne more often just to see the progressive building of that bond. Amparo soars for the number One Life and the angels’ presence during battle scenes were a beautiful touch. Laird LaCoste is enchanting as Henry IV as he flaunts around playfully for the adorable number, The King with Two Crowns oblivious to the weight of his future accompanied by Kevin Groppe as the Duke of Bedford and Bishop Cauchon by Steve Dooner who both deliver impressive performances especially for Sold for a King’s Ransom. Giangrande and Dooner create some riveting tension, especially later in the production.
Salvatore Guillermo, Garcia, Shane Smith, Peter S Adams, and Braden Misiaszek in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
However, this show has its uneven moments and does not fit squarely as a rock opera. The music is considerable with a weighty storyline and would like to have known some of the characters better. With so many other cast members traditional and faithful to the era in boots, plain garments, and royal vestiges, some of the other costumes in leather, feathers, sneakers, and eyeliner are so contemporary, they seem out of place. For example, in the number, Nobody Parties Like a Bastard, the party scene seems to not quite fit with the mood and manner of the rest of the production.
Kaileigh E Bumpus Liza Giangrande and Dru Daniels in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
Jeanne is trying to accomplish a tremendous mission which makes an indelible impact, breaks societal norms, and the production makes it as plain as day that Jeanne is doing what is considered a man’s job. It is critical to the story, but is emphasized much more than Jeanne’s accomplishments which weren’t as clear. What warrior Joan of Arc accomplished being different is also what made her special, extraordinary, and the very reason this musical was created. Her adversity and faith becomes her greatest strength.
Greatness isn’t always understood, and her destiny was built on exactly who she was and stands as a testament to the good she accomplishes at such a young age and an inspirational life that should never be forgotten.
With book and lyrics by Zoe Bradford and co-directed by Zoe Bradford and Sally Ashton Forrest, music and lyrics by Melissa Carubia with collaborator Michael Hammond and musically directed by Robert McDonough, Company Theatre unveiled the world premiere of Born to Do This: The Joan Of Arc Rock Opera live and in person at Company Theatre in Norwell, MA continuing through August 20. Click here for more information and for tickets.
Before cell phones, the internet, and alternate forms of digital communication invited people to text and talk on a computer screen as an alternative to seeing someone in person, Hair highlights the value of in person camaraderie, especially when things seem to be falling apart. Set in war torn 1968 and focusing on a tribe of hippies that could possibly be drafted, emotionally and physically holding onto each other helps them cope in a world gone mad.
Company Theatre’s ‘Hair’ Shane Cunniff-of Quincy and Gilbert Dabaddy of Rockland Photo courtesy of Zoe Bradford/Company Theatre
Directed astutely by Zoe Bradford with bold musical direction by Robert McDonough, Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts. This show has mature themes and not appropriate for children. Click here for more information and for tickets.
What is so prevalent in Company Theatre’s production of Hair is the natural camaraderie between cast members tackling a work that requires the cast to engage so closely and without reservations. Hair is at times an immersive experience with some interaction with the audience and cast members occasionally marching down the aisles. An entire cast warmly together onstage is uplifting albeit still a tad bit strange to witness. It provides an escape from the world today with social distancing still not quite a thing of the past.
Company Theatre’s ‘Hair’ Julia Violet of Hanover Janaysia Gethers of Weymouth Elizabeth Nunnery of Hanover Shane Cunniff of Quincy and Tim Bevens of Hingham Photo courtesy of Zoe Bradford/Company Theatre.jpeg
Though the musical took place almost 55 years ago, there are clearly some parallels with contemporary society. In a world with increasing protests, questions on gender, environmental concerns, women’s lib, the realities of war, racism, social injustice and societal division, Hair addresses many of these issues through song, humor, activism, and somberness. It also features some silly and sometimes unnecessary content, but the intrinsic nature of its most popular songs give it a poignancy and relevance that the musical isn’t always given enough credit for.
Hair takes place, as the famous song proclaims, in the Age of Aquarius where one is destined for either greatness or madness. With all the turmoil in the world, Hair seems to be embracing a bit of both. From Aquariusto Easy to Be Hard to Good Morning Starshine to Let the Sunshine In to its memorable title track, Hair delivers an energetic and steady stream of versatile music almost from beginning to end.
Company-Theatre-Hair-Peter-Kirby-of-Norwell portrays Claude and Julia Violet of Norwell as Sheila the protest leader Photo courtesy of Zoe Bradford/Company Theatre
Not only does this young cast have strong vocals, but they also fit naturally into this era having done meticulous research with Bradford on the time period. Some historical footage is sporadically shared during the production. Charismatic Nolan Donato as Berger, the Tribe’s outspoken leader, is an engaging storyteller for the catchy song Donna. Fun-loving Peter Kirby as mysterious Claude delivers a humorous rendition of Manchester, England, but Claude’s inner turmoil is what truly brings out Kirby’s dynamic performance. Kirby also shines with the Tribe for I’ve Got Life. Julia Violet is wonderful as the free spirited Sheila and offers a moving rendition of Easy to Be Hard. Wearing slick 60s sunglasses, Jeff John-Phillipe as Hud candidly leads the Tribe in an affecting Colored Spade and later alone for Abie, Baby. Shawn Verrier gets a lot of laughs as historical and controversial Margaret Mead.
The-Company-Theatre’s ‘Hair’ Jeff Jean Phillipe as Hud Peter Kirby as Claude and Shawn Verrier as Margaret Mead Photo courtesy of Zoe Bradford/Company Theatre
Love triangles are rampant and depicted quite humorously featuring Julia Violet as Sheila, Olivia Valianti, Emma Bergman, Amelia Kirshon, and Cate Healey in I Believe Love. He’s in love with her and she’s in love with him and he’s in love with someone else. Sally Aston Forrest’s funky and flowing choreography is at its best for the psychedelic Walking in Space enhanced by Dean Palmer Jr’s florescent lighting.
From beads to fringe to bell bottoms to slick 60s sunglasses to multi-pattered and flowing garments, costume designer Hannah Schuurman with set designer Ryan Barrow creates that groovy 60’s vibe featuring an embellished 60s theme truck, beaded passageways, and oriental rugs lining the stage.
Company Theatre’s rock musical Hair shows an era where people are anxious about the future and wondering where their destiny lies. It does not stray too far from today’s struggles, but peace, love, and happiness are not a thing of the past. Depicted by this young cast in a powerful, emotionally-charged rendition of Let the Sunshine In, perhaps the most important thing is holding onto each other.
Company Theatre’s ‘Hair’ Berger leader of the Tribe portrayed by Nolan Donato of Scituate and Sheila the protest leader portrayed by Julia Violet of Norwell Photo courtesy of Zoe Bradford/Company Theatre.jpeg
Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts. This show has mature themes and not appropriate for children. Click here for more information and for tickets.
The one thing more magnificent then Joseph’s dream coat is the tale behind it. An interactive, endearing, and humorous production, Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat has been entertaining audiences for over 50 years with its exuberant story and its versatile and brilliant music by the Academy Award-winning team of Andrew Lloyd Webber and Tim Rice. Joseph’s music offers a wide spectrum of music genres for any taste from calypso to rock and roll which accompanies the unique retelling of a sacred tale of treachery and unceasing hope.
Photo courtesy of Zoe Bradford/Company Theatre
A tale so wonderful that it needs three narrators, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1. The production is almost sold out. Click here for more information, tickets, and for classes that ACT has to offer.
Cate Healey, Gilbert Dabady, and Elizabeth Nunnery as Narrators with Tim Bevens as Joseph Photo courtesy of Zoe Bradford/Company Theatre
Based on the Book of Genesis and set in the land of Canaan and Egypt, Joseph and the Amazing Technicolor Dreamcoat explores the incredible journey of Joseph and his brothers as Joseph struggles to discover his destiny. It is very much a collaborative, ensemble piece featuring three engaging narrators portrayed by Gilbert Dabady last seen in ACT’s Les Miserables, Cate Healey, and Elizabeth Nunnery as they share Joseph’s tale not only with the audience, but with the surrounding and energetic young cast gathered onstage. Dabady, Healey, and Nunnery all have powerful and very different voices that complement each other throughout the performance.
Brothers – Corin O’Neill – Abington, Jay Feeney- Hansen, Henry Jacobs – Norwell, Colin SanGiacomo – Norwood, Roland Schulze – Hingham, Matthew Porro – Hanover, Tim Bevens (Joseph) – Hingham, Ben Cavallo Smith-Hingham and cast Photo courtesy of Zoe Bradford/Company Theatre
With a sweet smile and unassuming demeanor, Tim Bevens portrays humble, yet forthright dreamer Joseph with instant likability from his first opening number, a warm and melodious rendition of Any Dream Will Do. Bevens delivers a compelling performance as a naïve outsider, his versatile vocal range effortless for the soothing Any Dream Will Do to stirring Close Every Door, his tone heart rendering and sympathetic.
Wearing a white beard, Jacob Yates takes on the mostly silent role of Jacob, Joseph’s devoted father. Yates makes the most out of this role with an amusing walk and some physical humor. Led by Charlie Flaherty’s standout portrayal as Joseph’s smirking and sneaky brother Reuben, One More Angel in Heaven depicts the united camaraderie not only by Joseph’s eleven brothers, but from the cast, all in on a little secret. Another excellent number that depicts the brothers’ united front is delivered by Ben Cavallo-Smith as Judah and his brothers for Roland Schulz as Benjamin, a catchy, amusing song called Benjamin Calypso.
Combining blue, glitter, and gold into dazzling Egyptian attire, Sal Garcia, who was last seen as Jean Val Jean in ACT’s Les Miserables, makes a grand entrance in suave sunglasses and a bouffant hairstyle as Pharaoh, complete with shimmering gold sneakers. Garcia shows off his comedic talent and charisma in the show stopping number Song of the King, combining the essence and high energy of a certain king not to be revealed here and Jack Black. It is fun to watch Garcia in a role where he can let loose.
Sal Garcia as Pharaoh Photo courtesy of Zoe Bradford/Company Theatre
The transformative lighting by Dean Palmer Jr. ranges from a lone spotlight to doubling for the hot, desert sun to flashing, multicolored spotlights for Go Go Go Joseph to the warm candlelight and modest staging of Close Every Door. Though most of the sets are colorful and fun, there is something special about the translucent, simple staging for Close every Door by candlelight, letting Tim Bevens’s poignant rendition speak for itself without distractions.
Elsa Hancock-Happ – Rockland, Calvin Jacobs – Norwell, Reese Warshaw – Hingham, Izzie Donnelly – Hingham, Nora Joyce – Weymouth, Silvia Thompson – Hingham, Tim Bevens – Joseph – Hingham, Laird Lacoste and cast Photo courtesy of Zoe Bradford/Company Theatre
Among the vibrant and bold costumes by John Crampton and Alison Gordon is the famous coat in yellow and green and ochre… Joseph’s magnificent, flowing, and sparkling coat is a head turner decked out in multi-colored stars on the back. The cast wearing sunglasses, an unusual camel, and cute Egyptian “beetles” among the crowd on a unconventional journey to Egypt are just a few of the subtle, cheerful touches added to this lighthearted production that certainly has its share of stirring and difficult moments, but with far more uplifting and spirited ones, it’s difficult to feel down for long.
Tim Bevens (Joseph) and cast Photo courtesy of Zoe Bradford/Company Theatre
Directed by Zoe Bradford with lively choreography by Sally Ashton Forrest and musically directed by Melissa Carubia, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1. The production is almost sold out. Click here for more information and for tickets.
Amid set designer Ryan Barrow’s quaint, warmly-lit, Tudor-inspired cottages of 1595 London is a Renaissance rock star…and the ones he left behind. Company Theatre’sSomething Rotten has something new to say about something olde and what it truly takes to be remembered.
Slickly directed by Zoe Bradford with zealous musical direction by Steve Bass, Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is not recommended for young children and runs approximately two hours with a brief intermission. Click here for more information and tickets.
Director Zoe Bradford and the cast of ‘Something Rotten’ Photo courtesy of Zoe Bradford/Company Theatre
The phrase, Something Rotten, calls to mind a number of references, but primarily this alludes to the one and only William Shakespeare, London’s resident celebrity. While music was prevalent in 1595, writers were the real stars of their time and Shakespeare, charismatically portrayed with plenty of ego, prowess, and smirking, flamboyant charm by Brad Reinking, was a legend. Surrounded by Shakespeare’s Bard Boys (watch their expressions as he speaks), Reinking’s stage presence is an eclectic cross between Prince and Elvis.
Christopher Spencer as Nigel Bottom, Brad Reinking as Shakespeare, and Donny Norton as Nick Bottom Photo courtesy of Zoe Bradford/Company Theatre
In the glow of stardom, there must be a few naysayers and no one does it better than Donnie Norton as cynical and struggling writer Nick Bottom who once worked with that famous Bard. Nick’s level of griping is prevalent in the catchy number, God,I Hate Shakespeare, but what makes the song particularly interesting it is also embodies relevant reasons some people do not care for Shakespeare’s writing. Norton as Nick Bottom is so good at the role that payoff is big when he finally shows a trace of optimism. Christopher Spencer also shines as idealistic, impressionable, and head-in-the-clouds Nigel, Nick’s little brother and fellow writer. Spencer’s best moments as Nigel is when he shows reason and aptitude, though his giddy chemistry with Emily Lambert as wide-eyed yet steadfast Portia is also wonderful to watch.
Emily Lambert as Portia and Christopher Spencer as Nigel Bottom Photo courtesy of Zoe Bradford/Company Theatre
Something Rotten is often self aware and its irreverent brand of humor brought to mind the classic comedy of Mel Brooks in musicals such as in the Tony award-winning The Producersor Young Frankenstein. Sally Ashton Forrest’s notable choreography boasts some splashy and humorous dance sequences including tap dancing and even a glorious kick line.
Elizabeth Cole Sheehan’s gleaming, colorful, and historically-faithful costumes cross the pond between regal classical to edgy contemporary adorned in gold-embroidered velvet, puffed sleeves, and leather.
Welcome to the Renaissance Photo courtesy of Zoe Bradford/Company Theatre
Something Rotten features some powerhouse vocals, especially from these forward-thinking leading ladies in jolly ol’ England. Emily Lambert as Portia lifted her soaring soprano vocals for the gospel-inspired, We See the Light and the sweet and cheeky duet, I Love the Way with Spencer’s Nigel. Melissa Carubia as spunky, confident, and loyal to a fault Bea is also ahead of her time, her dynamic vocal range on display for the groundbreaking number, Right Hand Man. With quirky comedic charms fueled by a mix of Catherine Tate and Jennifer Saunders, Janis Hudson is perfectly smashing as royally-dressed Lady Clapham.
Janis Hudson as Lady Clapham Photo courtesy of Zoe Bradford/Company Theatre
With bright, inquisitive eyes and a mischievous and knowing grin, Christopher Hagberg is a scene stealer as Thomas Nostradamus who leads with Norton in the funniest and most brilliant number of the show, A Musical tailor-made for literary and musical lovers everywhere.
Donnie Norton as Nick Bottom and Christopher Hagberg as Thomas Nostradamas Photo courtesy of Zoe Bradford/Company Theatre
Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show runs approximately two hours with a brief intermission. Click here for more information and tickets.
Though I’m not a fan of The Crown, the intriguing Oscar-nominated Spencer is new on Hulu and I was too curious about the polarizing acting abilities of Kristen Stewart to miss this film. Not only does the film focus on the tension, the princess’s fragility, and her deteriorating marriage, but what is deemed a fable of a tragedy taught me a bit about the monarchy’s strict regime before heading out to see the Company Theatre’s production of The Audience.
Directed by Steve Dooner and the inspiration behind the Netflix’s hit drama The Crown, Company Theatre presents Peter Morgan’sThe Audience through Sunday, February 20 at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is 2 hours and 15 minutes including an intermission. Click here for more information and tickets.
Carol Laing Stearns as Queen Elizabeth II with Pembroke Welch Corgis Gregory and Laci Photo courtesy of Zoe Bradford/Company Theatre
The Audience is named after an important room inside Buckingham Palace where Queen Elizabeth II discusses a wide range of topics with various Prime Ministers over the Years. As Queen, she must live up to certain standards to have these meetings on a certain day for a certain length of time and keeping discussions strictly to Cabinet, Parliament, and Current Affairs. Needless to say, conversations often take a turn in unexpected directions. The show delivers light and subtle humor throughout the production, but this is mostly a historical drama.
Carol Laing Stearns portrays the sharp and coolheaded English monarch with sophistication, grace, and underlying prowess (with her royal corgis in tow). She dryly describes herself as “a postage stamp with a pulse,” but we all know better. Stearns has a natural and likable presence, but also stoic and headstrong. She rarely lets her emotions get the better of her, even when she is commenting on it. It is interesting to see the quirks and tenacity, navigating her age progression well. However in a rare moment, thanks to the keen lighting design of Dean Palmer. Jr, the spotlight shines on Stearns in a moment of vulnerability, and it is difficult not be entirely moved by it.
Carol Laing Stearns as Queen Elizabeth II Photo courtesy of Zoe Bradford/Company Theatre
Ryan Barrow’s elegant set is flanked with wall-to-wall gold trim, historical portraits, and a sparkling chandelier shining overhead. Charismatic Rama Rodriguez as Equerry acts as half narrator and half historian, sharing the relevance of this special room and its astute history. From a tartan skirt to the dapper suits on each Prime Minister to the very replica of Queen Elizabeth II’s white dress and royal sash symbolizing her position as the Dame Grand Cross of the Royal Victorian Order, costume designer Elizabeth Cole Sheehan has a meticulous eye for historically-accurate regal flair.
The depiction of Elizabeth II’s flashes of childhood is handled in a unique and insightful way though at first it can be a little confusing. Young Elizabeth, portrayed as a precocious and inquisitive old soul by Samantha LeBretton, struggles with her destiny and the separation of her public and private figure. Although she is unsure of her place exactly, she feigns surefootedness, but not without questions.
Carol Laing Stearns as Queen Elizabeth II Photo courtesy of Zoe Bradford/Company TheatreJulie Dennis as Margaret Thatcher Photo courtesy of Zoe Bradford/Company Theatre
Chris DiOrio as Harold Wilson is the most sympathetic among the Prime Ministers while Julie Dennis as Iron Lady Margaret Thatcher comes in like a lion and remains one. The tension between Stearns and Dennis as a compelling Thatcher is quite thrilling to witness as two people with much in common can barely agree. DiOrio as Wilson thrives in the role, his strong Northern accent only accentuates his likability.
Among the many political, social, and personal topics addressed, the clash between royal rituals and traditions with modernization and talk of the end of the monarchy is always looming. However, The Audience presents a bigger picture and depicts just why Queen Elizabeth II’s, who just celebrated her Platinum Jubilee this month and is the longest reigning English monarch in history, secret to her longevity reaches far beyond her wit.
Company Theatre’s ‘The Audience’ is the inspiration behind Netflix’s ‘The Crown’ Photo courtesy of Zoe Bradford/Company Theatre
Company Theatre presents Peter Morgan’s The Audience through Sunday, February 20 at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is 2 hours and 15 minutes including an intermission. Click here for more information and tickets.
In her good works, her loving and encouraging persona, and perhaps in a misbehaving microphone, Company Theatre’s beloved co-founder Jordie Saucerman’s presence was unmistakably felt in Jordie A Celebration of Life and Concert continuing through Saturday, November 6 at 7:30 PM. This dynamic tribute is held live onstage with no intermission at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information.
Courtesy of Zoe Bradford/Company Theatre
Though there are moments of tearful recollections, this thoughtful, Mardi Gras-inspired tribute brought more joy than sadness not unlike Jordie herself. She made an indelible mark not only in theatre and film, but her humor, drive, and generous nature made her an unforgettable presence in the lives she encountered, especially in children that often felt alone and misunderstood. Her discernment, treatment of others, and her endless bowls of chicken soup and treats allowed them to shine.
Young Jordie Saucerman Photo courtesy of Zoe Bradford/Company Theatre
A large cast that included Academy of the Company Theatre (ACT) students paid warmhearted tribute to Jordie with hit Broadway tunes, pop and uplifting gospel songs, captivating dance numbers, and personal stories. Composed of present and former students that she fondly referred to as family and those whose lives she touched over her 49 years in the arts, needless to say the stage was full.
Some highlights included a poignant montage of film clips capturing Jordie’s wonderful life, including her telling first and final reflections. A stirring homily from Cathy Torrey and insightful, ballet-inspired choreography created by Jordie’s wife and Company Theatre choreographer Sally Forrest led in song by Paula Markowitz depict how beautiful she was inside and out.
Ballet-inspired tribute Photo courtesy of Michael Hammond/Company Theatre
The Company Theatre presents Jordie A Celebration of Life and Concert for one more show on Saturday, November 6 at 7:30 p.m. Click here for more information.
In Jordie’s memory, The Company Theatre has created The Jordie Saucerman Forever Fund. Click here to contribute to her legacy.
Just prior to the pandemic, an award-winning, intriguing production not only made its debut but closed in one night on the Company Theatre stage in Norwell, Massachusetts over a year ago. Onstage as the meaty role of Bruce, Company Theatre’s Director of Development Michael Hammond experienced that incredible and bittersweet night and what it meant to the cast of the musical memoir Fun Home. Click here for our full podcast conversation.
Aimee Doherty as Alison, Michael Hammond as Bruce, and Riley Crockett as Small Alison Photo courtesy of Zoe Bradford/Company Theatre
The Company Theatre is offering a chance to see Fun Home for the full run they had originally intended in October. Michael talks about his experience as Bruce, his favorite part of theatre, and a secret upcoming project.
Click here for Sleepless Critic’s Fun Home review and here for tickets and further information about the Company Theatre.
Sleepless Critic: So you’ve been in theatre since you were a kid and now that we have had the pandemic, what was your favorite part of the theatre before and was there a change in your favorite or what you miss the most when we had a break?
Michael Hammond: I think we take a lot for granted in life. We forget how much fun it is to sing with an orchestra or to perform on a beautiful set someone built. Ryan Barrow does amazing sets at Company Theatre and it’s thrilling to perform on one of his sets. It’s thrilling to perform with Steve Bass conducting an orchestra and thrilling to perform Sally Forrest’s choreography under Zoe Bradford’s direction.
I think we take that for granted in some ways and as much as I enjoy it and maybe as I got from show to show to show, I think I just liked performing specific roles for the experience of getting to know a new cast. I did a Christmas show at Company Theatre and just recharged my energy to be around such beautiful people and exciting kids and talent. You’re in a flow and you are doing shows and enjoying it.
The cast of Company Theatre’s ‘A Christmas Carol’ Photo courtesy of Zoe Bradford/Company Theatre
You get what you get out of it, but when the pandemic was coming, I was doing Fun Home with an extremely talented cast. Riley Crockett was playing the youngest Alison. I was re-experiencing theatre through her eyes and she had never been on a big stage or performed with an orchestra which is shocking because she is so talented. She would ask me, ‘Are you nervous for your solo tonight?’ I would say, ‘I am a little.’ She would say, ‘Good, now you know how I feel.’ Ok, she needs a little more support and encouragement in that moment.
Then we were standing on top of a staircase and we were about to walk down for our first entrance and she said, ‘Michael, I’ve never performed on a set like this. This is a big deal.’ I said, ‘Yes, it is a big deal. You are right. This is a beautiful experience and you’re about to sing live with an orchestra for the first time in a big theatre on a beautiful set.’ It made me look at what we are doing and not take it for granted.
So we were fortunate to open and close Fun Home on the exact same night because the pandemic had really hit. That day everyone was cancelling their performances but we went on because we had a feeling this would be it. I’m so glad we did because it was one of the most exciting and electric experiences of my life. People were rebellious and excited. They knew this might be the last time they ever saw this show and Fun Home is not a super positive and happy experience.
Riley Crockett as Small Alison and Michael Hammond as Bruce
Photo courtesy of Zoe Bradford/Company Theatre
SC: It is melancholy.
MH: Right, but the audience treated it like it was a rock concert!
SC: Yes, I was there to review your first and final performance. I felt so comfortable and wonderful and I had saw this show in Boston before. What I liked about watching this particular show is that you can make it so different every time you perform it. The parts can be portrayed very differently and you can do so much with the show. In a way, if you had to say goodbye to theatre for awhile, I felt like that was such a poignant thing to do in that moment.
MH: It was. It was one of the most beautiful experiences I think I ever had and it was just so bittersweet because it was the last show with Jordie. How thrilled and grateful am I that I got to have Jordie’s final show be Fun Home and I got to be a part of it. It was just such a fantastic experience and she loved the show. It was such a joy to go through that process with her.
SC: It is one of those shows that sneak up on you unexpectedly. You’re experiencing the show and you enjoy it, but once it’s over, it is really thought-provoking.
MH: I saw it on Broadway and loved it. I thought that I don’t necessarily need to see it again. It was beautiful and moving and I think of it like a beautiful film. You watch it and then you watch another film. When this opportunity came around to work on the show, I have such a great appreciation for it. I think it’s just one of the greatest things ever written where you’re dissecting and it personally and really in the trenches on it. It’s so much more brilliant than I realized.
SC: It has such multi-layered performances as well.
MH: I was thinking today that there were so many things about Bruce, I almost feel like I just left my body. I personally couldn’t be any part of this character because it just wasn’t anything like me. Sometimes I think about it and it feels really difficult to do it again because I remember it as ‘What did I even do?’ I feel like something else took over and performed the role for me.
SC: I don’t often see you play parts like that. Not to reveal anything, but your character is very complicated.
MH: Then to hear compliments like you should do roles like that more often is such a compliment because people think of me as a song, dance, and musical theatre man. Not that I shy away from roles like that, but it was very gratifying to play that part especially opposite such a talented cast. It’s unbelievable.
SC: I know you’ve written a few works with Jordie and Zoe over the years. Please tell us how that came about.
MH: I co-wrote Paragon Park the Musical with Zoe, Jordie, Sally, and Michael Joseph for the first production and Steve Bass for the second who worked on the music. I love amusement parks and I loved Paragon Park. I went there so many times in my life.
When I heard that Zoe and Jordie were thinking of writing a musical about Paragon Park, I selfishly just wanted to see it. I had no inkling that I would be involved or that they would want me involved. I just wanted to see that production so it got mentioned many times over the years and one summer I designed a poster Paragon Park the Musical coming summer of whatever year it was. It was a long time ago.
Zoe Bradford – Director, co-writer, and Company Theatre co-founder Photo courtesy of Company Theatre
Michael Hammond, Paragon Park the Musical co-writer and George A. Dodge in 2019 production Photo courtesy of Company Theatre
One day Zoe decided years after the poster even to start doing some research. She said, ‘Why don’t you come with me? We’ll get lunch.’ We went to the Hull Library which was incredible. They put us in a private room and provided us with access to microfiche, boxes of memorabilia, and photographs. They were so generous. It just snowballed from there. We just couldn’t stop. We were researching and loved what we found. It did not end up being the musical we thought we were going to write because the ideas we had in mind turned out to be completely not true. It all got shifted.
We thought maybe there was this seedy underbelly to the park and that once the park was closed, things happened at night. It was going to be dark and mysterious and then we find out from the park owners that ‘Oh no, we locked that place, sealed it like a drum at 11 pm, and went out for Chinese food.’ Nothing happened at the Park after hours. So much for that, but the Stone Family provided us with so much information that we were able to write a really interesting and factual musical. It was 80% true except for the love story we incorporated.
SC: Not only did you write it the first time around, but when it came back around, you got to star in it too.
MH: I did and it was a thrill! The nicest feeling about that show and being in it is to be putting on a costume and as I’m by myself getting dressed, I would hear people walk down the hallway singing the songs or they would say that they get to do that scene they love now. There was so much positivity and to realize we wrote a show that was really fun to perform. Some of the kids were in Ragtime and we used to make these funny backstage videos. So I said, ‘Why don’t we make videos during Paragon Park?’ They said, ‘Michael, you and Zoe wrote a show where there is no time to make videos. When would we do that?’ It was nice to know we had a hand in creating this really fun experience. It was quite thrilling to be able to perform something that I helped write.
Michael Hammond in Company Theatre’s ‘Paragon Park the Musical’ Photo courtesy of Zoe Bradford/Company Theatre
SC: Please tell me about the projects you are working on now and upcoming projects.
MH: I’m devoting all my time to Company Theatre and Zoe and I thought, ‘Why not write another musical?’ It’s a completely different project from Paragon Park and we can’t quite announce yet what it is, but Zoe is incredibly inspired by this project.
Watching her, it’s almost like she is channeling something like I’ve never seen. She’s a beautiful artist and I’m obsessed with the way she draws and paints. So she just took out a magic marker and a gigantic pad of paper and drew what she saw in her head for the plot of this show and it was quite impressive to watch. Her ideas are flowing through her. It is unbelievable so we’re hoping that will probably be the summer of 2023.
A celebration of life for Company Theatre co-founder Jordie Saucerman. Visit companytheatre.com to learn how to be part of this tribute. Photo courtesy of The Company Theatre
Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts, is presenting Fun Home in October as well as devoting a night to their late co-founder, Jordie Saucerman, in November. Click here for more information and check back to find out about Company Theatre’s mystery original production.
Michael Hammond may change the way you look at life. Are you afraid of the audition? He’ll show you a way to succeed. Having a bad day? He’ll show you a way to lift your spirits. As the new Director of Development at the Company Theatre, a role he calls a lifelong dream, his positivity may help others the way Company Theatre has helped him since childhood.
‘Ragtime’ Photo courtesy of the Zoe Bradford/Company Theatre
Michael Hammond, Paragon Park the Musical co-writer and George A. Dodge in 2019 production Photo courtesy of Zoe Bradford/Company Theatre
Aimee Doherty as Alison, Michael Hammond as Bruce, and Riley Crockett as Small Alison Photo courtesy of Zoe Bradford/Company Theatre
The Company Theatre, located at 30 Accord Park Drive in Norwell, Massachusetts, joyously held their first indoor production since their absorbing musical, Fun Home early last year. Rock of Ages was an edgy and energetic rock jukebox musical that took place last month. See Rock of Ages review here and click here for Sleepless Critic’s full podcast.
Sleepless Critic: Please tell me what it was like to be back in the indoor setting for Rock of Ages.
Michael Hammond: It’s so fantastic. It’s emotional, exciting, and the energy in the air was just electric. You were there. You saw it. People were cheering and screaming.
The show starts with Sally Forrest’s voice doing her standard announcement which we are all accustomed to hearing. It was such a welcome back and to hear her voice and I think people cheered over her entire announcement. Just to be back inside, hear that familiar voice, and to know we’re about to see a really fun and exciting show was just great.
SC: I know this was the opening weekend for indoor theatre, but you did have some outdoor theatre experiences like Avenue Q before this show.
MH: Avenue Q was incredible. The kids were so talented. Their commitment to what they were doing and their characters were dynamic. It was Broadway-type quality coming out of these kids on the outdoor stage of the Company Theatre out back. We have had other things like Divas with a Twist and Donny Norton’s band,The New Band there. That’s been a really nice addition to the Company Theatre as well as now being back inside.
SC: So getting back to Rock of Ages, you had your opening weekend and you felt like everything went as smooth as can be?
MH: Absolutely! So many new people in this show and as is typical of the Company Theatre, they are already saying this is my new home. It’s this overwhelming feeling that you’re home and you found your family at the Company Theatre even if you did one show and you never come back, it still feels that way. I’ve been involved since I was 19 years old.
Shane Hennessey as Stacee Jaxx Photo courtesy of Zoe Bradford/Company Theatre
SC: I was going to say that you are familiar with that feeling.
MH: I’m very familiar with that feeling. I don’t know what my life would have been like without Company Theatre. I would have taken a completely different path.
SC: It’s hard to replicate the kind of friendly and welcoming atmosphere you have when you’re in theatre.
MH: Absolutely! Such a nice group of people too that do theatre especially the teens. They just stay out of trouble. They have a common goal they are working towards and they enjoy each other’s company and make lifelong friendships. I can’t say enough about it.
I’ve just seen so many kids, even this summer just come through the doors and they leave just completely changed and confident and more themselves. It’s just a beautiful thing to witness.
SC: When you said you had been with Company Theatre pretty much your whole life, you said it was a lifelong dream to do something like this as the Director of Development now. I’m really excited for you.
MH: Thank you! Like a lot of people during the pandemic, you start to question ‘Am I doing what I want with my life? Is this fulfilling and rewarding?’ Like many people, I came to the conclusion that what I was doing was not for me anymore.
It had run its course and I needed something new and Jordie Saucerman, one of the founding partners of the Company Theatre, had passed away and that really accelerated my thought process because her wake was attended by so many people. I thought ‘Look at all the lives that she touched.’ The impact that Jordie had on people is immeasurable. Even if I make just a little sliver of that impact on people, I would feel great about my life. That set the wheels turning.
I approached Zoe one day and said, ‘I will be your janitor. I basically don’t care what you have me do, if there is a spot for me here, I am coming.’ That seed was planted awhile ago and it sort of blossomed into Director of Development. I’m so excited to try new things and just give back what I got from this theatre.
SC: Not only that, but you have a similar positive way about you like Jordie had. Where do you get your positive outlook from? Where do you draw it from considering I’ve also seen videos of you on social media?
I’m not attempting to fill Jordie’s shoes in any way. That’s not a task that anyone could accomplish. She is a unique individual who I feel is still around in the atmosphere and in the joy of the theatre. If I’m upset or have a bad day, it makes me feel better to brighten someone else’s day. That is such a nice feeling to buy someone in line a coffee or just compliment someone or encourage someone to do something they didn’t think they could do. I live off of that. If I am having the worst day of my life and I do something nice for somebody, I instantly feel recharged. I think that’s how I basically go through life.
SC: I hear that from a lot of comedians as well. It makes them feel better to make someone else laugh even if they are upset or having issues.
MH: I tried standup comedy once. I did it more for the writing aspect, but I did perform. It was an interesting experience because you come out onstage and you look at a sea of faces who want you to succeed because if you succeed, they have a fantastic time. You have an overwhelming amount of support that you just want to hold onto and it was an incredible feeling.
SC: What did you did before this that you wanted to walk away from and join the Company Theatre?
MH: I was the station manager at a local cable television station. I was so grateful because it was also a non-profit. I probably learned so many skills that I could apply to this job I didn’t necessarily have before. Just the behind the scenes stuff, the QuickBooks, the budgets, and managing a non-profit was extremely helpful and then also applying my video experience to the job as well. Filming and creating events and learning special effects.
So all of that which at the time was a perfect job for me, but nine years later I felt like I needed a change and so I am going to apply what I learned there and bring it to the Company Theatre. We can offer acting for camera classes and improv for camera classes.
I’ve been on auditions and in commercials. We want to provide those skills to kids who like to act and be on camera. We want them to be able to go into an audition and know how to slay what they are going to be asked to do and be prepared for anything.
I actually started with a class over the summer. Some of the kids were auditioning so they got immediate training for those auditions. When they came back, they would tell the other students that they did just what Michael showed us. I asked if they felt more prepared. Did you do a better job with the audition? Their faces lit up and they said, ‘Absolutely!’ That was a nice thing.
We want to get in touch with the local casting agencies which we already have a good relationship. We want to create a talent database where you can see video auditions and we can send those out so we kind of want to be a bridge between the local movie and theatre scene. We’ll provide students with the training. They’ll have the skills to go out and nail professional auditions and maybe get cast in movies and commercials. We just really want everyone to have new and exciting opportunities to excel in a career in film and theatre if that is something that they are interested in.
‘Ragtime’ (L to R) Barbara Baumgarten, Cristian Sack, Hilary Goodnow, Brenna Kenney, Finn Clougherty, Jillian Griffin, with Hannah Dwyer as Little Girl and Michael Hammond as Tateh Photo courtesy of Zoe Bradford/Company Theatre
SC: Let’s face it – the audition process is the most nerve-wracking and hardest part I think to convey right off the bat because in your head, you are saying,’ I know what I can do for you’ but then you get up there and it is not exactly what you picture.
MH: Having directed before, people come in and they are nervous. The reality is the casting company is nervous and they have roles to fill. So, the second you come in, put them at ease, and they know they have options, they feel better. I always say in my mind when I got into an audition, ‘Here I am! You can relax. I am going to be that person you need.’ I think it’s an interesting way to keep yourself calm to think I am exactly what you need instead of I hope I’m what you need.
SC: I never really thought of it like that.
MH: Think about it. You have a reputation. You have a project. You want to cast the right people because that makes you look good as well. If you find the right people not only are you confident about the project, but it brings excitement.
When I direct a show, I’m not very excited about it until I know who is in it and then I can tailor their performances to their talents. It is such a thrill to watch people blossom.
Please tell me about the projects you are working on now and upcoming projects.
I don’t think I’ll be directing anything for a little bit. I’ll probably take on some projects here and there. I definitely can’t leave that part behind. I’m really going to focus on the video classes. I’ll be working with Christie Reading. She is extremely talented with anything video related. So, I will be teaming up with her teaching improv for camera, acting for camera, and getting people ready for auditions.
I think it will be really exciting if we get someone cast in a major motion picture which has happened at Company Theatre. Andrew Mackin was in Mystic River, Jonathan Togo is on CSI, Michael Morlani is the casting director for Disney. There are a lot of success stories that come out of this theatre.
We want to nurture and encourage that. That is kind of my goal. It’s to really push people to excel in any way that they can.
SC: You can’t forget about Boston Casting. How convenient is that! There are all kinds of films going on in the state.
MH: Exactly and literally a mile down the road they are making motion pictures. So how can we not be a part of that? They are working on the new Jon Hamm movie in Cohasset. I know Angela at Boston Casting who is an incredible woman and I don’t know how she does everything she does, but with all those films going on, eventually they will run out of actors.
We get casting notices all the time and I’m forwarding them off to everybody I know that I think fits. For example, I sent a buddy of mine a notice yesterday. They were looking for an actual butcher with acting experience and I happen to know a butcher with acting experience. I’m thinking he might get it.
SC: I know. Some of the requirements are so wild.
MH: It’s so specific, but every once in a while I’ll say, ‘Wait a minute, that is me.’
Company Theatre is offering theatre classes in the fall. Click here for the full schedule and upcoming events.
If you decide to visit Hollywood, California, stop by the Bourbon Room, a real bar and nightclub inspired by the legendary fictional bar and nightclub in jukebox musical Rock of Ages. The Bourbon Room opened last year in honor of the show’s 20th anniversary and if it contains half the wild antics of this edgy musical, it will be worth the trip.
The excitement was tangible as the Company Theatre prepared for their return to its signature indoor stage for the debut of Rock of Ages on Saturday, August 7. The crowd was pumped for an uproarious good time as the booming sounds of 80s hits enlivened the stage and nostalgia took over not only for hair bands and jelly bracelets, but for a live show in person and in glorious color.
Caitlin Ford as Justice and Janis Hudson as Denise Dupree Photo courtesy of Zoe Bradford/Company Theatre
Directed by Zoe Bradford, musically directed by Steve Bass, and choreographed by Sally Ashton Forrest, The Company Theatre presents Rock of Ages without an intermission through Sunday, August 22 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. This show is not for young kids. Please note this show run has some rotating cast members. Click here for more information and for tickets.
Packed with colorful characters doused with a mix of rock raunchiness and self aware humor, Rock of Ages holds a mirror up to the era of excess and distinct self expression. Steering this club is Brad Reinking as Lonny, the Bourbon’s impulsive no-holds-barred co-owner, resident storyteller, and narrator. According to Company Theatre’s Director of Development Michael Hammond, Reinking improvised a portion of the dialogue with local references and contemporary quips the audience and not even the cast saw coming. Reinking shines as Lonny, his strong voice and penchant for dark humor work well in a script that never takes itself too seriously.
Brad Reinking as Lonny Photo courtesy of Zoe Bradford/Company Theatre
Brad Reinking as Lonny and Braden Misiakzek as Drew Photo courtesy of Zoe Bradford/Company Theatre
Christopher Spencer as Franz Photo courtesy of Zoe Bradford/Company Theatre
Part love story, part rebellion, and mostly musical, Rock of Ages is set in the 80s on the Sunset Strip where idealistic Sherrie (Emily Lambert) and guitar strumming dreamer Drew (Braden Misiaszek) long for stardom and are not sure where to start. They set their sights inside the fledgling Bourbon Room, an aging nightclub and bar in danger of being shut down unless someone takes action.
Shane Hennessey as Stacee Jaxx Photo courtesy of Zoe Bradford/Company Theatre
Performed by an intimate group of musicians led by Steve Bass, Rock of Ages is fueled by a wide range of 80’s hits that are clearly a trip down memory lane for some including Journey, Bon Jovi, REO Speedwagon, and Foreigner enhanced by Forrest’s intense choreography. Emily Lambert boasts powerful vocals as wide-eyed yet determined Sherrie and does a terrific job teaming up with Caitlin Ford as complex yet confident Justice in a powerful medley of Quarterflash’s Harden My Heart and Pat Benatar’s Shadows of the Night. Lambert also shines in a sweet yet intense rendition with Misiaszek for Extreme’s More than Words, Bad English’s To Be with You, and Warrant’s Heaven medley. Melissa Carubia as spunky and resourceful renegade Regina is all spirit and heart for Twisted Sister’s We’re Not Gonna Take it and light and amusing rendition of Starship’s We Built this City and Styx’s Too Much Time on My Hands.
Shane Hennessey makes a big entrance as mysterious Stacy Jaxx (in a nod to another famous 80s rocker) to Bon Jovi’s Dead or Alive. Ryan Barrow’s vibrant set design is on point especially one scene in a nightclub bathroom. It is easy to feel the grime watching that signature nightclub bathroom from the audience. Janis Hudson portrays compelling Denise Dupree with a tough façade, dry humor, and a Joan Jett vibe while Christopher Spencer offers some refreshing and sometimes goofy comic relief as Franz.
The Rock of Ages cast Photo courtesy of Zoe Bradford/Company Theatre
That is just a taste of the wide range of rock numbers in store. A jukebox rock musical, Rock of Ages is best enjoyed as an extended MTV music video at a time when music was mainly performed on MTV. The rock medleys have cheek and sass and in the real world oozing with serious drama (where to start) Rock of Ages is meant as pure entertainment and each fun loving character a representation of a lighter time. You may find yourself bobbing your head, singing along, or both to the catchy tunes you may or may not have lived through, but nonetheless have stood the test of time in their own vibrant way.
Prior to the Rock of Ages musical on opening night, Company Theatre offered a VIP pre-show that featured plenty of 80s nostalgia and delicious treats including Pop Rocks, shrimp cocktail, cheese and crackers, vintage-style cupcakes, and a special Ecto Cooler cocktail.
Kay and Judy at Company Theatre’s VIP preshow Photo courtesy of Jeanne Denizard
Ecto-Cooler cocktail with glowing straw and ice at Company Theatre’s VIP preshow Photo courtesy of Jeanne Denizard
Vintage-style desserts at Company Theatre’s VIP preshow Photo courtesy of Jeanne Denizard
80s boombox from Company Theatre’s VIP preshow Photo courtesy of Jeanne Denizard
Floral centerpieces at Company Theatre’s VIP preshow Photo courtesy of Jeanne Denizard
The Company Theatre presents Rock of Ages without an intermission through Sunday, August 22 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information, upcoming events, and tickets.
