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

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:  Boasting a heartwarming and zippy soundtrack, a marvelous ‘Dr. Seuss’ How the Grinch Stole Christmas!  The Musical’ revels in the wonders of the beloved book

Whether you like the Grinch or not, be sure to witness this remarkable version of Dr. Seuss’ How the Grinch Stole Christmas!  The Musical.  It is a humorous and dazzling way to spend 85 minutes taking in the holiday spirit with the family.

By sticking to Dr Seuss’ imaginative vision, the beloved book springs to life onstage in a vibrant and thrilling way.  Past film adaptations have been overdone and bogged down with side stories and imagined history, but not this musical.  As an avid fan of the book and the famous 1966 animated TV special, I was thrilled to see this musical firmly faithful to Seuss’ literary vision.  Dr. Seuss’ How the Grinch Stole Christmas!  The Musical expands parts of Seuss’ vision that already exists in the book for a heartwarming and interactive experience about the value of love and camaraderie.

James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

With steadfast direction by co-directors Matt August and Bob Richard while Richard also navigates the musical’s energetic choreography, Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23.  Click here for more information and for tickets.

From the reflective perspective of Evan Blackwell as Old Max and Chamberlin Little as Young Max who both play their parts to perfection as Narrator and character respectively, Dr. Seuss’ How the Grinch Stole Christmas The Musical is a musical comedy about a Grinch who claims to hate Christmas and feels he must stop Christmas from coming…but how?

W. Scott Stewart as Old Max and Xavier McKnight as Young Max in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Greeting the audience with a white wreath on a red Who populated backdrop, this cheerful and interactive musical is the perfect length at 85 minutes with no intermission and brings to life the book in a way the padded film adaptations never did.  Featuring a number of catchy and heartfelt numbers weaved through its rhyming dialogue, enhancing this tale into a musical is hardly a stretch because the Whos love to sing.

Boasting three dimensional illustrated moving set pieces directly from the book, John Lee Beatty’s innovative set design include an enchanting illustrated three dimensional tree lit with glowing white and red bulbs, the Grinch’s illustrated snow covered cave and the drawn fireplace mantel with colored stockings.  It also offers glimpses of the animated classic in red and gold bulbs hanging across the ceiling adding bursts of color. 

Craig Stelzenmuller’s playful lighting often follows the action and brings sparkle to an already bright and cheerful set design.  Blue and green lights flash, glitter and move along like its own character in this wonderful tale as it also creates brief and foreboding shadows as the Grinch makes his grand entrance. 

The Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Boasting piled high hairdos, Sarah Smith’s festive, textured and Seuss-centric costumes in red, pink, white and green form wild shapes accessorized with oversized bows, bowties and elf shoes.  However, the Grinch’s vivid green and furry costume with exacting makeup is ideal right down to his long and slender fingers. 

James Schultz as THE GRINCH in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Occasionally frightful but more often comical with his deep and versatile baritone voice, Matt Forbes is excellent as the cool and temperamental Grinch sharing gripping and amusing scenes with Little as Max as well as endearing ones with Trinity Vittoria De Vito as angelic Cindy Lou Who.  De Vito’s chiming vocals and captivating demeanor impressively deliver the gentle and touching ballad, Santa for a Day as she interacts with Forbes with blind adoration.  Little as Young Max is devoted and lovable with an expectant grin to the Grinch’s perturbed scowl and dastardly smirk as they join together for I Hate Christmas Eve with the Whos and in a playful rendition of This Time of Year with Blackwell as Old Max.

James Schultz as THE GRINCH, Sofie Nesanelis as Cindy-Lou Who and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel.

Delivering the famous tunes you already know like Blackwell’s amazing rendition of You’re a Mean One Mr. Grinch and Welcome Christmas, Mel Marvin also builds on famous excerpts from the book for original songs such as the warm Who Likes Christmas, thunderous I Hate Christmas Eve, and wild Whatamawho where the Grinch famously exclaims, ‘Oh, the noise, noise noise noise!’ 

James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

With sing-along opportunities and thrilling special effects as Blackwell shares this classic children’s tale, Dr. Seuss’ How the Grinch Stole Christmas!  The Musical holds its own to the book and the famous 1966 animated TV special live onstage reflecting on all the themes of the book such as materialism, bullying, and greed with a beautiful message and holiday treat fitting for the entire family.

James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23.  Click here for more information and for tickets.

Boston Camerata’s Artistic Director Anne Azema talks Fortune and greed in classic satire ‘The Tale of Fauvel: A Political Fable from Medieval France’

With a dose of comedy and memorable music, The Boston Camerata kicks off its 64th season with an enduring satire on hypocrisy, abuse, and greed called The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m.  Based on a 14th century poem the Roman de Fauvel, this compelling piece focuses on corrupt rulers and the effect they have on society.  Click here for more information and for tickets.

 

The Boston Camerata’s Artistic Director Anne Azema portrays Fortune in this political fable.  She describes her pivotal role, the show’s contemporary significance, and plans for the future.

Sleepless Critic:  You took on the role of Fortune in Tale of Fauvel: A Political Fable from Medieval France. No doubt Fortune must play a powerful role in this piece.

Anne Azema:  Fortune or Lady Luck, a kind of pagan Goddess surviving into the Christian Middle Ages, is a powerful presence and presented as a female in medieval literature. According to the Carmina Burana text, she holds the world in her hands, sits on her wheel, will raise some and crush others – and will leave you shirtless, with a bare back.  Fauvel, the Orange-Maned Horse, has put in his mind to conquer the entire world by wooing and then marrying Fortune.  Little does he know Fortune’s answer to his courtship is a severe put-down.

SC:  This show is a satire, but it carries a contemporary significance ahead of the midterm elections.

AA:  Fauvel began Camerata’s long series of story-telling programs, an effort that continues to this day.  I think Fauvel’s truculent criticism of hypocrisy, abuse, and greed in public life continues to be as relevant as the headlines in today’s newspapers. Some of the lines from 1310 seem so relevant, it will give you shivers.

SC:  What was it like working with the cast?

AA:  A complete joy!  Our core team has performed this piece in various configurations before.  Aside from our three singers, we will have two instrumentalists and a narrator, who will share, in irreverent English verse, the adventure of our Horse, Fauvel.

We are also happy to include Longy School of Music of Bard College students and Brandeis students.  They will all take part in the revels of Fauvel’s Wedding Night!

SC:  What inspired you to bring it to the Boston Camerata stage this season?

AA:  Its manuscript source is interesting on many levels so it is well known both to musicians and literary types who have an interest in early repertoires.  It’s a vehement diatribe in verse against the abuse of power in Paris of 1310, but there is a visual aspect to the book which includes beautiful illuminated miniatures. The music, an anthology so to speak, of varied genre and style of pieces, were songs that were circulating in Paris at the time.  They were either recycled from other sources to fit the narrative or composed to illustrate the purpose.

Camerata developed a first version of Fauvel in the 90s as a commission for Warner/Erato.  Within the Boston Camerata’s repertoire are programs both recently created and ‘classic’. Our Fauvel falls into this latter category. We are delighted this production continues to be in demand both here and in Europe.

SC:  What sort of music will this show offer?

AA:  Written many centuries ago but very accessible, the music is direct and acoustical.  It’s a mixture of voice(s) and instruments in a small setting. The public is close to the performers and has an ‘organic’ access to them.  The trademark to our performances is a blend of spontaneity, energy, and emotional commitment with careful research and scholarship.

SC:  Though this show has its moments of humor, this piece is message-driven. What is the best reason you think people should see this show?

In the end, I believe what is important is spending an entertaining hour or more together. Although the music is seven centuries old, it is totally enjoyable.  Its beauty and energy will bring you to another powerful place and frankly, speaking of humour and satire, we all need to blow off a little steam in this highly fraught moment.

Boston Camerata Fauvel (2)

The cast in action. Photo courtesy of the Boston Camerata

 

SC:  Boston Camerata’s 64th season boasts a wonderful lineup including Christmas performances Puer Natus Est: A Medieval Christmas and Gloria! An Italian Christmas in December. How do you select each season’s performances?

AA:  My choices are driven by my personal interests, the teams we have, the repertory book we want to keep alive, and by our mission to create new programs combined with touring and recording demands. The idea is to keep us and our audiences alert, perky, and open to new experiences.

SC:   I understand you are also a soloist, often writing your own pieces, touring, or recording. Please tell me about that.

I just returned from touring Canada with a One Woman Show, a show which presents music of the 12th and 13th century. These recitals, alone or with colleagues, offer a different way of connecting with the public and demand a deeper relationship with the music.

SC:  What work you are currently working on?

AA:  I will continue to look at narratives/storytelling and prepare several recording and media projects in the coming seasons.  Besides our medieval shows, we’ve been involved in early American music. We are also working on the release of our Naxos CD recorded last season in the context of a Canadian, American, and Dutch project. We recorded The Harmonia Mundi CD in September and that will contain some powerful, motivating American songs of resistance and rebellion!

For one day only, The Boston Camerata presents The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m.  Click here for more information and tickets and be sure to follow The Boston Camerata on Facebook for all their latest news.