Gershwin | The Sleepless Critic

REVIEW: Love takes a spectacular turn in Reagle Music Theatre of Greater Boston’s picturesque ‘An American in Paris’

Posted on August 15, 2024 by The Sleepless Critic

Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo. An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55^th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts. This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission. Click here for more information and for tickets.

Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world. Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance. In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable. Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm. It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance. Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background. Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals. From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron. However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill. Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother. They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck. Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives. It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me.

Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance. Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up. It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad. Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight! Get swept up in this beautiful musical as soon as you can.

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55^th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts. This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission. Click here for more information and for tickets.

Kristin Chenoweth, making her Celebrity Series of Boston debut on April 30, talks favorite roles, latest album, and more

Posted on April 28, 2017 by The Sleepless Critic

From a church choir soloist to an Emmy and Tony award-winning actress and singer, Kristin Chenoweth has been dazzling audiences on film, television, and on stage with her dynamic range and powerful vocals for over 20 years. Currently promoting her sixth album, The Art of Elegance, she will be making her Celebrity Series of Boston debut for ‘An Intimate Evening with Kristin Chenoweth’ at Symphony Hall on Sunday, April 30 at 7 p.m. The evening will include a selection of her most popular songs, pop, American standards, and Broadway tunes. Click here for more information and for tickets.

Kristin Chenoweth talks about some of her favorite and most challenging roles, the inspiration behind her Grammy-nominated album, and a few surprises she has encountered along the way. Click here for more on her upcoming projects.

Celebrity Series 1739-Kristin-Chenoweth-Credit-Bryan-Kasm

The Art of Elegance with Kristin Chenoweth Photo courtesy of Bryan Kasm

Sleepless Critic: You’re an actress, singer, Broadway performer, and voiceover artist. You sang in church at an early age. Was singing your first love?

Kristin Chenoweth: My first love was ballet. I wanted to be a ballerina, but I didn’t have the flexibility in my feet. I was so glad I had that training at a young age because I began to hear classical music and then I wanted to take piano. I think I was about eight years old when I had my first solo in church and that’s kind of when things shifted for me.

SC: You will be exploring a number of genres during your upcoming concert. Pop, songbook classics, Broadway, a bit of everything you’re known for. What kind of music do you enjoy listening to?

KC: I love all kinds of music and I shift in and out and change a lot. Right now, I’m listening to a lot of Linda Ronstadt. I get on these kicks and I’ll just listen to something over and over and it shifts all the time. There are so many artists I admire, but that’s what I am doing right now.

SC: Have you ever had a role that you had certain expectations of and you ended up totally surprised by on Broadway or otherwise?

KC: Absolutely, I think playing the female lead in Promises, Promises. I knew it would be a challenge for me to play her, but it was really surprising how much I fell in love with her and came to really understand her. There’s a big part of me who really knew who this person was. It might not have been what fans wanted necessarily, but it is important as an artist to not always do what is expected. The part scared me and that is how I knew I needed to do it.

SC: You won a Tony as Sally Brown in You’re a Good Man Charlie Brown. What has been your favorite role so far?

KC: On Broadway, it is definitely Lily Garland in On the 20^th Century. It was a role that required a lot of my own skill set and it is an operetta with tons of movement and high brow comedy. I probably never worked harder, but it was extremely gratifying.

SC: You have such a great vocal range. Was there a note that you discovered you could hit that took you by surprise?

KC: I remember being in a voice lesson while at Oklahoma City University. My teacher was vocalizing with me. I didn’t study voice growing up. I just sang in choir and was in drama in high school. That was my training, so I never had a voice lesson. When I went to OCU, she vocalized with me up to a high F sharp above high C. I knew that was high, but I couldn’t believe it.

For many years, I sang arias that required a high F and I noticed it’s maybe not there like it used to be. I would say I am living in more of the D or E flat area, but that was a crazy high note.

SC: When a song is particularly challenging, how do you overcome it?

KC: It’s so funny, we were just talking about one of the songs from Promises, Promises the other day with Michael Orland, my music director on this tour. The song is called, Knowing When to Leave by Hal David and Burt Bacharach. I just told him that it hammered away at my voice eight times a week because it is very repetitive in an area of my voice that is what we call passaggio. That song scared me.

Finally in rehearsals, I thought less about being note perfect and more about the character. I find that when you let go, you really think about what you are singing and mean what you are singing. It hasn’t always gone that way and I don’t always make the right decisions, but that is when you let go, you can get there. That song was a big challenge for me and to this day, I think it’s hard, but I worked on it, wrote it down, lived it, and warmed up to it. Who knows? Maybe I’ll pull it out again.

SC: The Art of Elegance is your latest album. What was the inspiration behind it and why did you choose American songbook classics this time around?

KC: Basically, I made a list of a bunch of songs and it kept pointing to this era. I love the lyrics. I love the melody of its time and they are some of the greatest songs ever written by composers such as Gershwin and Cole Porter. I didn’t know The Very Thought of You very well. I think I heard it a couple of times and then I really started to investigate the song. That happened a lot on this album and now, of course, I just feel like I want to do a part two.

Click here for more information and for tickets to Celebrity Series of Boston presents ‘An Intimate Evening with Kristin Chenoweth’ at Symphony Hall, 301 Massachusetts Ave. in Boston, Massachusetts on Sunday, April 30 at 7 p.m. Celebrity Series of Boston just announced their 2017-18 season. Subscriptions, gift cards, group, and student discounts available. Click here for more on their upcoming season.

Celebrity Series of Boston thrives on support from the community. Click here for a variety of ways to support Celebrity Series of Boston.

Music Director Jamie Kirsch talks Chorus pro Musica’s concert version of comedy musical, ‘Of Thee I Sing’

Posted on April 25, 2017 by The Sleepless Critic

A spectacular evening of comedy, romance, and award-winning music is in store with Chorus pro Musica’s concert version of Gershwin Of Thee I Sing on Saturday, May 13 at Robbins Memorial Town Hall in Arlington, Massachusetts at 8 p.m. In the spirit of the show, concert attendees are encouraged to dress in 30s-inspired attire for a costume contest. Click here for full details and tickets.

Jamie Kirsch is in his fourth year as Music Director of Chorus pro Musica and loves his work. He offers a closer look into Of Thee I Sing, his incredible work with Chorus pro Musica, and more.

Chorus pro Musica’s Music Director Jamie Kirsch in action Photo courtesy of Alonso Nichols/Tufts University

Jeanne Denizard: What I absolutely love about Gershwin Of Thee I Sing is it is part concert and part theatrical production. It has comedy and romance as well.

Jamie Kirsch: Yeah, writers definitely have called it a work. It is a unified single where there’s no instantly recognizable tune in this show in the way one would recognize other Gershwin’s most famous songs from musicals that can be extracted and don’t have anything necessarily to do with the plot. They don’t appear in the best of Gershwin albums because for the most part, everything is tied to that story. There might be one or two songs that someone might recognize such as the title song of Of Thee I Sing and certainly people have recorded the song, Who Cares, but no song that would be on people’s top ten list of pieces they know because they bought a greatest hits album or a Michael Feinstein album. They are wonderful songs, but they are all tied to the book.

JD: I also understand that this is the first musical to win a Pulitzer Prize.

JK: It did win the Pulitzer Prize in 1932. Everyone won the Pulitzer except for George Gershwin because there was no Music Pulitzer at the time. Ira, Kaufman, and Ryskind got it. I think actually it was awarded to George posthumously where there finally was a music Pulitzer.

JD: Of Thee I Sing surrounds the election of John P. Wintergreen and deals with politics in a humorous and lighthearted way. I understand you really were excited about this particular piece to add to the season more for the music than for its political statement though we had a heated election just recently.

JK: Yes, it doesn’t make a political statement one way or another. There is no political party mentioned, making fun of both sides equally. We also picked the piece well over a year ago. The current players in the real world were still in the primaries and no one had any inkling of what was to transpire and how unexpected it would be.

Numerous colleges and universities did the show right around the election. It is remarkable how many across the entire country, even major schools of music. The University of Michigan did it in October and November knowing what was going on. We had the same idea, hoping it would be a relevant topic but we didn’t plan for any outcome either way. Separate from the political stuff, it happens to be a musical dominated by choruses and it made perfect sense to do it with our chorus.

JD: Now, are you going to be performing a lot of scenes from the show?

JK: Yes, it is a concert version. We’re doing most of it, just without the staging.

JD: I understand it has some comedy and a bit of romance as well.

JK: Absolutely, there are elements common to musical theatre. People talk about how different it is from anything else Gershwin wrote, but the other side of that coin is a love triangle. Certainly plenty of musicals have love triangles and also present is an element of the exotic where a French ambassador arrives in the second act and that happens throughout many other musicals. It’s new, but it has ties to the standard, more traditional musical theatre.

JD: It sounds like there will be lots of surprises.

JK: Yes, there will be musical surprises. It has a Gershwin, jazzy sound and Gershwin rhythms and syncopation, but it is really unique. There are scenes that go on and on and mostly music for a good ten minutes. It’s kind of like Gilbert and Sullivan in that way. That is an example of a piece of music that cannot be extracted. You are not going to perform that at a musical theatre cabaret as you would with another Gershwin tune.

JD: You will have featured artists such as Margot Rood, Christina English, and David McFerrin.

JK: They are three of the best singers around town and the city and I have worked with a couple of them before. They are just wonderful, so flexible, and able to handle this repertoire and style as easily as they are able to handle early and baroque music. They are so incredibly versatile, talented, and wonderful actors. Having them on board for this production is very special.

JD: You are also the sixth Music Director of Chorus pro Musica. The chorus has existed close to 70 years. What is it like to conduct this chorus?

JK: It’s a joy. The musicians are incredibly hard working, love challenging themselves, conquering major works, and striving for excellence. They are so supportive of each other, collegial, and just wonderful people. They care so much about the product and each other, the chorus, and its history.

Chorus pro Musica group shot Photo courtesy of Eric Antoniou

I’m very grateful to be able to do the things that we do with Chorus pro Musica. In this season alone, we have done maybe the greatest work by Beethoven and some of the greatest works by Mahler. Then we move on to Gershwin. We are dealing with pretty amazing people. I’ve written some amazing music and this chorus is up for the challenge to perform these pieces at an extremely high level while also keeping a good balance of fun while we do it.

JD: This is your fourth year with Chorus pro Musica, but I understand that you are involved in a lot of projects. You’re a busy man in music.

JK: Yes, I am fortunate enough to be on the music faculty at Tufts as my main job and finishing my seventh year there. It’s a wonderful job and I work with amazing colleagues who are at the tops of their field and teaching theory and musicology. I teach in a beautiful building with supportive faculty and administration and wonderful students. We recently did the Mozart C Minor mass. Yes, between Chorus pro Musica and Tufts, I’m a pretty lucky person.

Family Holiday Concert 2014 Boston City Singers Photo courtesy of Chorus pro Musica

JD: Do you have a favorite piece of music you like to conduct or a piece you are hoping to conduct with Chorus pro Musica?

JK: One of the great things about the Chorus is that they are able to handle everything from a candlelight Christmas concert to Beethoven’s greatest works to Gershwin to new, modern pieces. One of our strong suits is commissioning new works so we are commissioning brand new works by new composers. They are able to handle any style, genre, and that is what I like to do. It keeps things interesting for me and for the singers to switch gears from month to month. Just to be able to be flexible in that way so the chorus matches my strength and my wanting to keep exploring, pushing, challenging, finding new, undiscovered music, create new music, commission new music, so I think in that way, it’s a very good match.

Chorus Pro Musica NE Philharmonic and Providence Singers

Chorus pro Musica with the New England Philharmonic and the Providence Singers, performing Benjamin Britten’s War Requiem, March 14, 2012 in Boston’s Cathedral of the Holy Cross.

JD: You’ve also worked with a few Boston organizations and collaborated with them in the past.

JK: We collaborated with the Boston Philharmonic a number of times and we will continue to do so. We have a wonderful relationship with Ben Zander and the Boston Philharmonic Orchestra and with Richard Pittman and the New England Philharmonic. We did a number of wonderful collaborations with Richard Pittman. We are always seeking out new collaborations because they are always great fun, enhance the groups, and work out well for everybody.

Click here for tickets to Gershwin Of Thee I Sing on May 13 at 8 p.m. It will be an exciting evening that includes a post-concert reception. Click here for more on Chorus Pro Musica and how to support their mission.