Based on real life accounts gathered in 2014 by Pulitzer prize-winning finalist Dael Orlandersmith, Until the Flood delves deep into the emotional and complicated perspectives and recollections of this community and how it affected each person following the shooting of Michael Brown in Ferguson, Missouri.
A colorful, makeshift memorial is strewn on a chain link fence shrouded in a blue, haunting darkness. Sirens ring out in the distance amid tingling and powerful music. Merrimack Repertory Theatre’s Until the Flood sets a foreboding undertone through Lindsay Jones’s chilling sound design and Bill Clarke’s haunting and true-to-life set pieces.
Encapsulating all the anguish, uncertainty, doubt, fears, and hope is Maiesha McQueen in a tour-de-force performance onstage as she takes on eight individual composites drawn from real life interviews in this one person show. From a 17 year-old teenager to a 75 year-old retired police officer, McQueen digs into the heart of each individual and delivers the kind of multi-layered performance that flows with each individual. From a subtle head tilt and a tumult of emotion brewing in her eyes to the careful movements and creaking in her bones as she takes on the persona of an ailing senior to the confident swagger of a teenager that feels like he can take on the world, McQueen writhes and broods with each character. Dressed in colorful and consistent street clothes by Yao Chen, each perspective and recollection made by each individual is fleshed out and brought together by McQueen as she pours herself into each character and makes each stand on their own. Her pliability transforms her stature, stance, rage, compassion, sadness, and anger “like the flood” over the state of the world.
Until the Flood provides not only each individual account of what they heard, saw, or experienced of the Michael Brown shooting, but a deeper look into how each person lived their life before and after this harrowing incident within this community. It is a raw, gripping look at how ugly and how beautiful a society can be and how easily friendships can change when people do not see eye-to-eye. It delves into anger that can be unleashed too easily, anguish, sadness, harrowing fear, and unbridled hope in fellow human beings in spite of life’s sorrowful circumstances. Most of all, it presents a fairly even handed, but complex account of what truly motivates human nature and how fear and hope takes shape.
Merrimack Repertory Theatre, located in Lowell, Massachusetts continues streaming Until the Flood through Wednesday, May 5. Click here for more information and tickets.
Moliere in the Park begs this question while addressing gender stereotypes and takes an at times tongue in cheek look at what makes a good wife in The School for Wives, a classic comedy by French playwright Moliere first making its stage debut in 1662. Translated by Pulitzer Prize-winner Richard Wilbur with French subtitles, this virtual romantic comedy in five acts has plenty of twists and turns on the road to love and made its live streaming debut on October 24 with the recording available through October 28 on Moliere in the Park’s YouTube channel.
Moliere in the Park is dedicated to inclusive, just, and free theatre. Click here for more information.
Set in Brooklyn, NY, Moliere in the Park’s The School for Wives uses its creative technical wizardry to meet Covid-19 standards with enhanced, virtual sets by Lina Younes transporting actors from a regal city garden to a carefully-detailed bedroom to an inviting cafe. At one point, it also gives the illusion that the characters are all together. Ari Fulton’s colorful costumes stay faithful to the time period while providing a certain modern edge.
Directed insightfully by Lucie Tiberghien, ‘The School of Wives’ is punctuated by its intriguing and catchy dialogue as well as its flipped gender roles. Older and wealthy Arnolphe (Tonya Pinkins) thought he has his love life figured out until Horace (Kaliswa Brewster) makes him rethink his road to love with sweet and virtuous Agnes (Mirirai Sithole). Each character is well developed, but what truly shines is the fleshed out philosophies and misconceptions of what makes a good woman and a good wife while exemplifying what truly makes a good man and husband.
Tony Pinkins skillfully depicts the well-spoken and arrogant Arnolphe as a myriad of emotions cross Pinkins face in a single scene. From a biting temper to soft chuckling to a Cheshire smile, Pinkins seamlessly illustrates Arnolphe’s constant inner conflict. Ever the focused manipulator, Arnolphe’s vibrant scene-stealing gravitas keeps you engaged no matter how complicated his situation becomes.
Kaliswa Brewster’s thousand-watt smile brings glowing charisma to young Horace, his youth shining through his outspoken candidness and confidence. Pinkins and Brewster are best as they hide their veiled intentions from each other, carefully holding all their cards at bay.
Virtue takes form in Mirirai Sithole as Agnes, a wide-eyed, sympathetic creature who hides a secret. Sithole’s carefully delivered dialogue and angelic, learned mannerisms keeps her fascinating and complicated in a demure pink headpiece and dress.
Peasants Georgette (Tamara Sevunts) and Alain (Corey Tazmania) offer comic relief as frenzied servants of Arnolphe. Anxious, obedient, and scrambling to meet Arnolphe’s demands, they are a fanatical and sympathetic pair whose often bewildered expressions makes one think they may have just ended up in the wrong place at the wrong time.
Moliere in the Park’s The School for Wives takes an enlightened look at love while the play unquestionably sets the foundation for today’s romantic comedy tropes. Its rich, inherent message never lacks humor or sincerity when it comes to the unpredictable path to true love.
Woven into the lush, green indoor turf is a unique narrative with the clever earmarks of adolescence in Sara DeLappe’s Pulitzer Prize-winning play finalist, The Wolves. Framed as a soccer match, this unconventional ensemble drama kicks off like a rocket, luring the audience into the tumultuous chattering of a competitive, all-girls soccer team who are about to learn a few valuable lessons about life and themselves in and out of the game.
Directed by A. Nora Long, Lyric Stage Company’s The Wolves continues through Sunday, February 3 at 140 Clarendon Street in Boston. The show is 90 minutes with no intermission and contains some mature themes. Click here for more information and tickets.
Photo courtesy of The Lyric Stage Company of Boston
Taking place entirely in an indoor soccer arena, Shelley Barish and Elizabeth Cahill’s exciting setting fits into the team’s boundless energy. Sports fans take note: Trained by soccer consultant Olivia Levine, The Wolves are the real deal, showing off authentic as well as physically complex moves throughout the performance.
What makes this show particularly interesting is the remarkable way the story is told. With a 90 minute running time matching the length of an average soccer match, a horn blaring not only kicks off the latest match within the performance, but sometimes humorously ties in to interrupt a heated conversation. As the audience as spectators peek into this team’s lives, the progressive nature in which they learn discipline, tolerance, and how to listen to each other is subtle, yet one of the most powerful parts of this compelling narrative.
Cast consists of Lydia Barnett-Mulligan, Sarah Elizabeth Bedard, Simone Black, Olivia Z. Cote, Chelsea Evered, Grace Experience, Julia Lennon, Valerie Terranova, and Jurielle Whitney Photo courtesy of Lyric Stage Company
These teammates have a natural and at times, rumbling chemistry in their uninhibited conversations. Whether they are delving into gossip around school, technology, getting their driver’s permits or scandalized by their maturing bodies, their viewpoints stay consistent with their level of maturity (right down to the abuse of the word, “like”) which can sometimes be insightful and other times, hilarious.
Though each cast member exhibits their own distinct personality in their matching uniforms, Valerie Terranova, who is making her debut on the Lyric Stage with this show, is a particular highlight as serious, optimistic player #25. The wise, unassuming way she leads the team shows that while the other girls may only see what is right in front of them, #25 sees where the game might take them, united, one victory at a time.
Laura Latreille (Soccer Mom) and cast Photo courtesy of Lyric Stage Company
Simone Black as #00 Photo courtesy of Lyric Stage Company of Boston
The Wolves may even serve as a nostalgic trip down memory lane, when you were a teenager and everything was the best thing in the world or the worst, the raging excitement of life. It may even leave you scratching your head, trying to recall if being a teenager girl was really like this. The undeniable answer, for the most part, was yes.
The Lyric Stage Company continues Sara DeLappe’s The Wolves through Sunday, February 3 at 140 Clarendon Street in Boston, Massachusetts. Click here for tickets and more information. Subscriptions and dinner packages are also available. Follow The Lyric Stage on Twitter and Facebook for their upcoming productions and more.
“Eat vegetables. Fiber is your best friend. Potassium combats blood pressure.” This sage, conventional advice was delivered in a humorous moment by Pops in an earnest attempt to be an average, conventional dad. Though wise in his own way, Walter “Pops” Washington is anything but conventional as an alcoholic widow, father, and head of a wildly dysfunctional household in the Pulitzer Prize-winning drama Between Riverside and Crazy that recently completed its run at the SpeakEasy stage at the Calderwood Pavilion in Boston, Massachusetts. This production is not meant for children. Click here for more information on the SpeakEasy Stage, winner of the 2018 Boston’s Best by the Improper Bostonian, and its upcoming productions.
Directed by Tiffany Nichole Greene and written by Stephen Adly Guirgis, Between Riverside and Crazy takes an edgy, at times controversial look at a struggling family who is losing their connection to each other while trying to survive by any means necessary. With darkly humorous moments that delve into issues of racism, privilege, and deception, this message-driven production grows every bit as crazy as the title suggests. However, things are certainly not all that they seem and the show is all the better for it. The Washington family has a great deal of underlying heart and blunt honesty, but it takes some digging to get there.
Lewis D. Wheeler, Maureen Keiller, Stewart Evan Smith, Tyrees Allen, and Octavia Chavez-Richmond in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
The real strength in Between Riverside and Crazy is in its energetic, complex performances. With a gravelly voice, more than his fair share of obstinacy, and traces of Red Foxx from Sanford and Son, Tyrees Allen slips smoothly into Walter’s tough skin with an inner turmoil that is always brimming to the surface, at the brink of revealing itself. Every snarl, agitation, and sorrow flows eloquently, delivering a powerful punch to a performance that should not be missed. It is easy to spot his outspokenness brashness in his son Junior, portrayed with a tough exterior, but with charm and secretiveness by Stewart Evan Smith. Their exchanges, like most of the show, are quick paced and snappy, and if it wasn’t for the darker nature of this show, shows earmarks of any relatable American family.
Completing this family is Alejandro Simoes who delivers a quiet and sympathetic performance as Walter’s adopted son Oswaldo. A bit naïve and with a secret of his own, Simoes delivers a clever and at times shocking performance of a troubled individual who is not all that he seems.
Octavia Chavez-Richmond and Stewart Evan Smith in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
With over-sized gold earrings, a tiny outfit and a Puerto Rican accent, Octavia Chavez-Richmond portrays the mysterious and often humorous Lulu. Chavez-Richmond delves into this juicy, darkly comical role with gusto every time she takes the stage. She is particularly funny during an exchange with Junior about their future and during a subtle, fascinating scene with Oswaldo and Junior discussing Ring Dings, bologna, and grape soda.
Octavia Chavez-Richmond, Tyrees Allen, Lewis D. Wheeler, and Maureen Keiller in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
Maureen Keiller as warm, but complicated Detective O’Connor and Lewis D. Wheeler as brown nosing Lieutenant Caro are outspoken New York police officers who have a history with Walter. Some of the most memorable scenes of the show are between Keiller, Allen, and Wheeler, each exchange between them like a fascinating game of poker. Although brief, Celeste Oliva offers a bold, pivotal, and controversial performance as Church lady.
Celeste Oliva and Tyrees Allen in SpeakEasy’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
As a lit Christmas tree sits in the corner and what looks like a functioning kitchen, Eric D. Diaz and Wooden Kiwi do a wonderful job to portray a warm and inviting apartment equipped with a built in brick terrace, a set that is consistent throughout the entire show. The staging is also strong as simultaneous scenes play out throughout the household, not a moment of it distracting.
Though it is not a show for everyone, its underlying themes, powerful performances, and meaty, twist-filled story delivers its award-winning appeal. Between Riverside and Crazy kicked off Speakeasy Stage’s 28th season. Next for the SpeakEasy Stage is the contemporary, Tony award-winning musical Fun Home, continuing through November 24. Click here for more information of their current season which includes the the Tony award-winning musical Onceand The View Upstairs.
LCT Young Angels Party Corey Gosselin, Ryan Meitzler, Jessica Ferreira, Jenny Dorso, Briana Lynch, Mara Roberts, and Amanda Pekoe Photo courtesy of Amanda Pekoe/The Pekoe Group
Christopher Lueck and Amanda Pekoe at the Obie Awards 2017 Photo courtesy of Amanda Pekoe/The Pekoe Group
League of Professional Women Big Mingle Briana Lynch, Jenny Dorso, Maria Mangiameli, and Amanda Pekoe Photo courtesy of Amanda Pekoe/The Pekoe Group
‘In and Of Itself’ Opening Night Jessica Ferreira, Jenny Dorso, Amanda Pekoe, and Christopher Lueck Photo courtesy of Amanda Pekoe/The Pekoe Group
The 71st annual Tony Awards, hosted by Academy Award, Golden Globe, and Tony award-winning actor and singer Kevin Spacey, are coming up on Sunday, June 11 and will be broadcast live at Radio City Music Hall in NYC and on CBS at 8 p.m. It is always an honor to speak to Amanda Pekoe, founder of NYC’s The Pekoe Group, about her thriving business and her sheer love for all things theatre.
Each year, Amanda offers her Tony predictions for theatre’s biggest night! Click here for more on the nominees and here for further information on the Pekoe Group.
Another shot of Amanda Pekoe, Christopher Lueck, and the Pekoe Group at the Tony Awards/Photo courtesy of Amanda Pekoe/The Pekoe Group
Sleepless Critic: It’s a very exciting time for The Pekoe Group and your team. The Pekoe Group recently celebrated its eighth anniversary. How are you feeling about year eight?
Amanda Pekoe: I’m really excited about our team and the high level of work we are doing. Our digital department has expanded and we’re seeing huge ticket sales results from our digital campaigns. We also won an award this year for the poster design for the Off-Broadway musical, The View UpStairs.
SC: Congratulations! It’s an especially busy time leading up to the Tonys every year. Please tell me how the Tonys impact your business.
AP: Awards season is such a busy and magical time of year. I love when shows and artists are recognized for their tremendous work and talent. This year is particularly exciting because there are so many new musicals and different points of view being expressed in the writing on stage. I’m very grateful to continue to be a part of the social conversation.
SC: The 71st annual Tony Awards, hosted by award-winning actor and singer Kevin Spacey, will be held on Sunday, June 11. This is a special year as the Tony Awards is returning to its traditional venue, Radio City Music Hall. It was at the Beacon Theatre last year. It must be nice that it has returned to its roots.
AP: I am looking forward to it being back at Radio City Music Hall. It’s such a large and beautiful venue, and so many people get to actually be in the theatre for the awards.
SC: Kevin Spacey is a wonderful and unexpected choice to host. He is not only an award-winning actor, but has proven to be a song and dance man many times over. It is surprising that this is his first time hosting.
AP: I think Kevin Spacey will have a great time hosting the Tony Awards. I’ve never met him in person but I think he’s so talented. I love him in House of Cards!
AP: All four of these shows are so terrific and so terrifically different from one another. It’s been such a well-rounded season of new musicals and they all offer something very special. I think Come from Away and Dear Evan Hansen are neck-in-neck, but I’m rooting for Dear Evan Hansen. I think the music is incredible and the story is extremely relatable for anyone who has ever felt like they’ve been on the outside looking in and not being seen. I know I sometimes do.
AP: The plays are tough because they are all so good. Sweat is a Pulitzer-Prize winner! Of all the shows, I think my favorite would have to be Oslo. I thought it was one of the most well-written plays I have watched this season and the topic was fascinating. The play’s rhythm moved so well and featured tremendous performances.
AP: These actors and actresses are all so great in these roles. My personal favorites have been from the great and hilarious show, Present Laughter‘s Kevin Kline and Jefferson Mays in Oslo. As for the actresses, Laurie Metcalf in A Doll’s House Part 2 and Jennifer Ehle in Oslo.
SC: The nominees for Best Actor in a Musical are Christian Borle for Falsettos, Josh Groban for Natasha, Pierre, and the Great Comet of 1812, Andy Karl for Groundhog Day the Musical, Ben Platt for Dear Evan Hansen, and David Hyde Pierce for Hello, Dolly!Best actress nominees in a musical include Denee Benton for Natasha, Pierre, and the Great Comet of 1812, Christine Ebersole for War Paint, Patti Lupone for War Paint, Eva Noblezada for Miss Saigon, and Bette Midler for Hello, Dolly! Patti Lupone and Bette Midler in the same category! Who do you think will win?
AP: I’m in love with Ben Platt in Dear Evan Hansen. At every performance, he barely leaves the stage and sings his heart out. As for the actresses, it’s really hard for me to say. Patti LuPone and Christine Ebersole are forces of nature in War Paint and Bette Midler, well, there are no words. These are three greatest of the greatest performers all gracing the Broadway stage in the same season and how awesome is that! I think Denee Benton and Eva Noblezada are both so talented and very strong singers. This really is a tossup. The category features some of the most gifted actresses and all of their performances are stunning. I wish they could all win together.
SC: What is The Pekoe Group’s specialty and what goals do you have for The Pekoe Group’s future? I’ve noticed you often offer marketing advice to those who follow you on social media.
AP: Our specialty is working with experienced producers, finding new audiences, and new ways to talk to traditional audiences. Click here to check out our blog for marketing tips and pointers.
Besides our work, Christopher Lueck and I have been co-teaching a marketing class for CUNY Baruch College’s Masters Program in Arts Administration and that’s been really fulfilling.
Looking ahead, we hope to connect even more new audiences to theatre productions they’ll love.
SC: What is the best or easiest way a business can contact the Pekoe Group?
From the first few angelic notes from one of Oklahoma’s most popular songs, Oh What a Beautiful Morning sung a capella by Jack Cappadona as charismatic Curly, it is easy to see that Hingham Civic Music Theatre’s (HCMT) spring musical is something special. Celebrating its 75th anniversary, Hingham Civic Music Theatre’s Oklahoma! combines elegant costuming, an impressive, distinctive cast, and an interactive set that makes the audience settle into its own home on the range. With its wealth of historical references weaved into Rodgers and Hammerstein’s classic soundtrack capturing the spirit of the time, it is no wonder that Oklahoma! won the Pulitzer Prize for musical composition in 1944 and remains relevant today. Hingham Civic Music Theatre delivers the show’s joyous zest for life, comedy, and, make no mistake, dark moments with zing and suspense.
Michael Andre as Ali Hakim and the cast of ‘Oklahoma’ Photo courtesy of Eileen McIntyre/HCMT
Directed by Nathan Fogg and musically directed by Sandee Brayton with choreography by Tara Morrison, Hingham Civic Music Theatre offers two remaining performances of Rodgers and Hammerstein’s musical, Oklahoma! on Saturday, April 29 and a Sunday matinee on April 30 at the Sanborn Auditorium in Hingham, Massachusetts. Click here for more information and for tickets. Tickets are also available at the door.
Based on Lynn Riggs’ play, Green Grow the Lilacs, an interactive, colorful, and rustic set rewinds the clock to the Oklahoma Indian Territory at the turn of the century, equipped with softly flickering lanterns, vintage photos, bales of hay, colorful blossoms, lush greenery, and interactive props hanging on the walls. In this particular production, the lighting is its own character, effectively setting the mood from a soft, rising sun to a nightmarish hue.
The splendid costumes, by Kathryn Ridder, are meticulously-detailed from gold embroidered shirts, brightly-colored satin costumes to delicate, richly-designed dresses with thick bows and petticoats. Whether it is a cow scarf adorning an outfit or a carefully matched wicker hat, those details wonderfully capture the authenticity of the time.
Ruggedly dressed in suede chaps over khaki pants with a button down shirt and cowboy boots, Jack Cappadona portrays Curly McLain with an imaginative streak and a confident and at times, a mischievous smile. Whether engaging C.J. Hawes as Laurey in a whimsical carriage ride during the playful song, TheSurrey with the Fringe on the Top or musing about life in Oh What a Beautiful Morning, with silvery vocals, Jack slides right into the role as Curly with a natural charm. With curly red hair and green striped overalls, C.J. Hawes portrays sassy, levelheaded Laurey with great comedic timing and sardonic wit. Jack as Curly and C.J. as Laurey are enchanting together and their soaring vocals make beautiful harmony.
Jack Cappadona as Curly and C.J. Hawes as Laurey Photo courtesy of Eileen McIntyre/HCMT
With thick curly hair, bright eyes, and a deep drawl, Rylan Vachon portrays Will as fun loving, somewhat hotheaded, and spontaneous. Will’s rendition of the song, Kansas City, has never been more fun with lively vocals and slick choreography as The Territory Boys stomp, slide, and perform various stunts. The entire cast captures the distinct spirit of Oklahoma! in all its stomping, sweeping joy.
Rylan Vachon as Will Parker and Jess Phaneuf as Ado Annie Photo courtesy of HCMT
Jess Phaneuf as Ado Annie brings a wild-eyed vivaciousness to the role. She seems to know how to take command of any room she is in one way or another with a wink and a grin. Her interaction with any cast member is fascinating and her comic timing is infallible. Her chemistry with both Will and Michael Andre as bewildered peddler Ali Hakim, have their own distinct charm. Michael Andre as Ali Hakim does a great job of balancing a dynamic character with comedy and cleverness.
Jess Phaneuf as Ado Annie and Michael Andree as Ali Hakim Photo courtesy of Eileen McIntyre/HCMT
Athan Mantalos portrays disheveled, hired hand Jud with a slow burn and deep, compelling, operatic- sounding baritone. Athan masters this role in the quiet moments, adding tension and making his character that much more mysterious. His scenes with Curly are especially powerful and their vocals have seamless harmony.
Athan Matalos as Jud Fry and Jack Cappadona as Curly Photo Courtesy of Eileen McIntyre/HCMT
With spectacles and a high collared dress, Kate Fitzpatrick brings sensibility and a bit of sarcasm to the role of Aunt Eller, who is much wiser than she lets on. Emily Gouillart as Gertie Cummings is a great deal of awkward fun with an unmistakable laugh.
Hingham Civic Music Theatre’s Oklahoma! offers its share of romance, comedy, and plenty of uproarious moments, but dark moments as well. Rodgers and Hammerstein wrote their second musical, Carousel, shortly after Oklahoma’s success and both shows share some of the same themes. Hingham Civic Music Theatre delicately weaves in the themes of loneliness, temptation, and violence effectively, balancing this timeless tale.
Hingham Civic Music Theatre offers two remaining performances of Rodgers and Hammerstein’s musical, Oklahoma! on Saturday, April 29 and a Sunday matinee on April 30 at the Sanborn Auditorium in Hingham, Massachusetts. Click here for more information and for tickets. Tickets are also available at the door. Be sure to follow Hingham Civic Music Theatre on Facebook and click here to learn how to support HCMT’s upcoming productions.
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.
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 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.
Hingham Civic Music Theatre, a theatre group whose most recent productions included The Wizard of Oz, Young Frankenstein, Once Upon a Mattress, and their most ambitious musical to date, Disney’s Beauty and the Beast, is going country. This spring, Hingham Civic Music Theatre presents the Rodgers and Hammerstein’s Pulitzer Prize-winning musical, Oklahoma! in recognition of the show’s 75th anniversary. Click here for a sneak peek.
Frank Mellen as Ike Skidmore, Roy J. Harris as Andrew Carnes, and Erin Thomas as Ellen in ‘Oklahoma!’
A sweeping musical with suspense, comedy, romance, and some of Broadway’s most memorable numbers, Hingham Civic Music Theatre proudly presents Oklahoma! for two weekends only from Saturday, April 22 through Sunday, April 30 at the Sanborn Auditorium in Hingham, Massachusetts. Click here for more information and for tickets.
Photo courtesy of Hingham Civic Music Theatre
Directed by Nathan Fogg and musically directed by Sandee Brayton with choreography by Tara Morrison, Oklahoma! is based on Green Grow the Lilacs, a 1931 play by Lynn Riggs. Set in the Oklahoma territory at the turn of the century, settlers explore the beauty and dangers of life on the range where some may be facing their biggest challenge yet: love. Oklahoma! includes an exciting array of popular musical numbers including People Will Say We’re In Love, Oh, What a Beautiful Morning, I Cain’t Say No, and the title track, Oklahoma.
Cowboy from ‘Oklahoma!’ Photo courtesy of Hingham Civic Music Theatre
Help support Hingham Civic Music Theatre as they raise money to upgrade their sound and lighting equipment for this production, their fall musical, Shrek, and for the quality of future shows. Click here to be a part of this fundraising campaign.
For tickets and further details, click here or email email@example.com. Group and discount tickets are available. All performances will be held at the Sanborn Auditorium, 210 Central Street in Hingham, Massachusetts and follow Hingham Civic Music Theatre on Facebook for upcoming events and more.
It’s a story about love and the single woman in the Big City with a twist. For Elizabeth, portrayed by Ann McCoy, a newly-single woman about to make a fresh start in New York City, life has become a world of daunting, yet wonderful possibilities. From the producers of the Pulitzer prize-winning team behind the show, Next to NormalCohasset Dramatic Club is proud to present the first non-professional production of If/Then, an insightful, contemporary musical about a recently divorced woman caught between choice and chance.
Originally starring Idina Menzel and based on a book by Tom Kitt with music and lyrics by Brian Yorkey, If/Then contains moving musical numbers such as A Map of New York, You Never Know, and Surprise. Directed by Lisa Pratt, musically directed by Sarah Troxler, and choreographed by Tara Morrison, Cohasset Dramatic Club presents If/Then for two weekends only on March 17, 18, 23, 24, and 25 at 7:30. One matinee performance takes place on March 19 at 2 p.m. All performances will be held at Cohasset Town Hall at 41 Highland Ave in Cohasset, Massachusetts. Click here for more information and for tickets.
Other ways to support Cohasset Dramatic Club is to become a volunteer, become a subscriber, and make a donation. Sign up for their email list to learn about upcoming events and more. Click here for more about the Cohasset Dramatic Club and follow them on Facebook.
Starting over isn’t easy, especially in the Big City. Cohasset Dramatic Club is thrilled to debut a remarkable musical about a single woman moving to New York City to make a new start. From the producers of the Pulitzer Prize-winning team behind the show, Next to Normal, If/Then is an insightful, contemporary musical about Elizabeth, a recently divorced woman and all the endless possibilities that lay before her in the Big City.
Originally starring Idina Menzel and based on a book by Brian Yorkey, If/Then contains musical numbers including A Map of New York, You Never Know, and Surprise. Cohasset Dramatic Club presents If/Then for two weekends only from Thursday, March 9 through Saturday, March 18. Click here for more information about the show.
Directed by Lisa Pratt, musically directed by Sarah Troxler, and choreographed by Tara Morrison, Cohasset Dramatic Club is holding auditions for the musical, If/Then on Wednesday, January 18 at 41 Highland Ave in Cohasset, Massachusetts at 7 p.m. Auditioners should prepare 24-36 bars of a song from the show and the evening will also consist of cold readings from the script. Rehearsals will begin on Sunday, January 22. Click here for further details and character descriptions.
Before If/Then, Cohasset Dramatic Club presents their fourth annual festival consisting of 10-minute plays, Briefs on February 3 and 4. This festival will feature cabaret seating, food, and beverages. Click here for more about the Cohasset Dramatic Club and follow them on Facebook.