‘The Foreigner’: Fun at Clockwork Theatre

Written by Joanne Greco Rochman
Wednesday, 21 November 2012 10:59

Some people simply don’t like talking. They don’t like chit-chat and they prefer to be left alone. Charlie is like that. His wife is seriously ill in the hospital and though he hates to leave her, his good friend Froggy and his wife insist that Charlie take a break and relax.

Froggy takes him to a cabin and inn owned by Betty, but Charlie doesn’t want to talk to anyone. He just wants to be left alone. Therefore, Froggy tells Betty that Charlie can’t understand a word of English and that he should not be bothered because he gets embarrassed if people talk to him and he doesn’t understand them. Of course, this prompts much excitement from the owner, who has never left her backwoods cabin. The guests and visitors either taunt or treasure Charlie’s quietness.

The first time I saw “The Foreigner” by Larry Shue, I laughed so hard that I cried. However, since then I have seen other productions of this show that did not fare as well. The success of this play depends heavily on comic timing, pace, and cast. The Clockwork Repertory Theater in Oakville definitely has the cast, but the comic timing and pace were off enough in the first act to draw less laughter than the show deserves. The second act, however, made up for the first. That’s when everything fell into place. The pace picked up, the comic timing was perfect, and the audience howled. 

Murder and blood at Stratford’s Square One

Written by Joanne Greco Rochman
Thursday, 15 November 2012 12:01

It’s not surprising that someone’s going to get killed when a wealthy upscale jewelry designer takes a handsome young waiter to bed with her, not knowing that he is videotaping the whole sexual encounter. Yes, there’s a security guard, but he’s a gambler with a lot of debts as well as a criminal record. 

Although there are only three characters in David Foley’s “Deadly Murder,” there are so many twists and turns in this play that you’ll need to pay close attention. 

Directed by Tom Holehan, and featuring a superb cast, it is amazing how complicated this ridiculously named mystery gets. Even the author said that he had originally named it “If/Then.” Apparently, some creative director called the play “Deadly Murder” and the title stayed with the play, even though it is rather nonsensical. Despite the weird title, Stratford’s Square One Theatre Company does an excellent job of making the complicated scenes believable. 

‘Something’s Afoot’ at Goodspeed

Written by Joanne Greco Rochman
Friday, 09 November 2012 09:15

The set is the thing in Something’s Afoot at the Goodspeed Opera House, according to reviewer Joanne Greco Rochman.

“Something’s Afoot,” a musical whodunit, is currently playing at the Goodspeed Opera House and here is what is afoot. It’s the set. One of the most elaborate and imaginative sets to ever grace Goodspeed, created by Adrian W. Jones, gets a rave review. 

However, that’s the only positive for this production. With music, book, and lyrics by James McDonald, David Vos, and Robert Gerlach and additional music and lyrics by Ed Linderman, this Agatha Christie-type mystery fell flat on its music, book and lyrics. The ending is clever, but nothing besides the set and ultimate solution is memorable about this production. While the Equity professional cast performed well, none of them stood out. None of the songs will be remembered, none of the dancing is memorable and even the mystery is forgettable. 

Actors shine in Westport’s ‘Raisin in the Sun’

Written by Joanne Greco Rochman
Thursday, 25 October 2012 10:49

Billy Eugene Jones and Susan Kelechi Watson in Lorraine Hansberry’s “A Raisin in the Sun,” directed by Phylicia Rashad, at Westport Country Playhouse. —T. Charles EricksonLorraine Hansberry’s dramatic classic, “Raisin in the Sun,” is basking in the spotlight of the Westport Country Playhouse. A great play by any standard, this work has a permanent place in the catalogue of definitive American experiences.  Phylicia Rashad, best known as Clair Huxtable on The Cosby Show, appeared on Broadway in this play, which she now directs with a realism that flows at a steady but slow pace, as if luxuriating in each brilliant moment, but ultimately dragging out the first act too much. 

Lynda Gravátt steps into the matriarch role of the family, Lena Younger, with an emphasis on the wise and loving mother. Lena is waiting for a $10,000 life insurance policy check on her late husband, which she intends to use for the overall benefit of the Younger family. This includes a house in a middle-class white neighborhood, which is the joy of Ruth Younger, played superbly by an empathetic and beautifully understated Susan Kelechi Watson. Ruth is wife to Walter and mother to young Travis (Luka Kain). Walter can’t wait for the check to arrive because he wants to invest it in a business deal with two of his friends. It’s a very risky business deal, but that doesn’t diminish Walter’s enthusiasm, especially as performed by Billy Eugene Jones, who transcends the role from mere naiveté to desperate wishful thinking. Alvin Crawford as Bobo, one of Walter’s investment friends, plays the role as timidly slow. 

Edena Hines plays college intellectual Beneatha Younger with wide-eyed appreciation of her African American past and bright-eyed American future as a medical doctor. All she needs is the money to go to med school, which her mother has promised will come from that $10,000 check. Mind you the play is set in Chicago 1959, when that check can go a lot further than it can today. 

At Long Wharf:‘Satchmo’ without his horn

Written by Joanne Greco Rochman
Thursday, 18 October 2012 13:03

John Douglas Thompson as Louis Armstrong in ‘Satchmo at the Waldorf’ now playing at the Long Wharf Theatre in New Haven.For a longtime jazz aficionado, it is disappointing to come upon a play, “Satchmo at the Waldorf” (now at the Long Wharf Theatre in New Haven) about the great Louis Armstrong that at best minimizes his music to background sound. Satchmo without his music is like a cloudy night without moon or stars. Sure we want to learn about the man behind the music. We want to know what gave him such joie de vivre that he poured his heart and soul into his horn, but not at the exclusion of what made him great to begin with.

Thank goodness John Douglas Thompson is such an outstanding actor. His portrayal of Satchmo is about as good as it can get based on the lackluster script written by Terry Teachout, a jazz and theater critic for the Wall Street Journal. Authenticity is great, and Teachout no doubt got all the information straight from the Armstrong tapes, but without conflict and drama, keep the story in print and file it under biography. However, in defense of biographies, there are plenty of biographies written with a lot more conflict and drama than is apparent in this production.     

The New Orleans-born musician’s story takes place backstage at the Empire Room of the Waldorf Astoria Hotel. Armstrong recalls the journey that brought him to this highly regarded stage. He decides to tape the recollections of his life. Therefore on stage there is a tape recorder that runs almost non-stop, except for the few moments when Armstrong doesn’t want to put on tape some of his less than charitable comments. 

The season ahead: Getting over ‘The Jersey Boys’

Written by Joanne Greco Rochman
Thursday, 11 October 2012 10:43

Million Dollar Quartet is coming to The Bushnell in Hartford in January.While many theatergoers packed The Shubert during the recent run of “The Jersey Boys,” many still can’t shake the show from their minds. It has a way of lingering long in the pleasure category and that’s where it will be until you replace it with other musicals coming your way this season. You may have to wait a while to get  strains of “Oh, What a Night” out of your head, but making a strong attempt at moving fast into your fond musical memories is “Million Dollar Quartet,” which plays Jan. 8 – 13 at The Bushnell in Hartford.

This is a musical inspired by a recording session in which Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins came together for one unforgettable moment in time.  Songs like “Blue Suede Shoes,” “Sixteen Tons,” “Great Balls of Fire,” and “Walk the Line” are  featured in this musical. If you’re wondering who Carl Perkins is, know that he is the man who wrote “Blue Suede Shoes.” It was only because of an automobile accident that the song was given over to Elvis. 

‘American Night’ an American nightmare

Written by Joanne Greco Rochman
Thursday, 04 October 2012 14:29

Richard Montoya in American Night: The Ballad of Juan José.—T.Charles EricksonYale Rep at the University Theatre, New Haven: Only in America, where we enjoy freedom of speech, can such a trite, juvenile, and tedious play such as “American Night: The Ballad of Juan José” end up on the stage of one of the world’s most well known universities. 

Here is a play that delights in insulting everything about America under the guise of satire. It starts with the main character Juan José desperately wanting to become an American citizen in order to escape from drug and corruption-plagued Mexico. 

What he discovers in a dream prior to his citizenship test is that America’s history is seriously tainted. Integrating everything in a dream sequence from the pioneers giving smallpox to the Native Americans to the Ku Klux Klan as representations of America, the play goes beyond being critical of the land that affords the opportunity for this play to be presented publicly. 

It is sad that this is what America’s brightest are producing and applauding. The play is supposed to be the thing, but here it is nothing more than political propaganda. The actors, the set designer, and the costumers deserve credit for their work, but what a  waste of good talent. René Millan performs as a confused Juan José, which seems most appropriate. Kristen Robinson designed the set, Martin T. Schnellinger designed the costumes and Shana Cooper directed.

A regal setting at Thomaston Opera House

Written by Joanne Greco Rochman
Thursday, 27 September 2012 10:44

Richard Damaso as The King and Cristin Tillinghast as Anna appear in the Thomaston Opera House production of Rodgers and Hammerstein’s The King and I.There are some shining moments and some not so shining moments in the Thomaston Opera House’s production of Rodgers and Hammerstein’s “The King and I.” 

Richard Damaso does a darn good job as the King. Damaso who never falters vocally, tends to be too mean until the final scene of Act I. Cristin Tillinghast as Anna also performs well. She definitely looks the part in her hoop skirts and tidy appearance. While she too never falters vocally, at times it seems as though she is concentrating more on her vocal performance than the emotion that prompted the song. 

Because some of the vocals are excellent and some not so, there is an obvious unevenness in the talent. However, there’s nothing uneven about Jamie Hatcher’s voice or her performance. She is delightful as Lady Thiang. The same holds true for Katie Brunetto who plays Tuptim, one of the young star-crossed lovers. Daniel Dressel plays LunTha, Tuptim’s lover. Others featured include Gary Kline as Sir Edward Ramsey, Ian Pekar as Louis, and John Paul Henares as Prince Chulalongkorn. 

The brightest moment is the ballet “The Small House of Uncle Thomas.” It was spot on. It flowed seamlessly and expertly. Lily Orelup, Joel Orelup, Daniel Dressel, Lynn Marie D’Ambrosi, Amy Ferrarotti, Caitlin Barra, John Henares, and Joseph Bukowski did an outstanding job in presenting this beautiful scene. 

Another bright moment in this production is when the curtain first opens and reveals a stunning exotic set by David Verdosci, set designer and artist. Everything about it looks regal.

Westport’s ‘Harbor’ not exactly safe

Written by Joanne Greco Rochman
Thursday, 06 September 2012 10:50

Alexis Molnar, Bobby Steggert, Kate Nowlin and Anthony Stewart in a scene from Harbor, at the Westport Country Playhouse. —T. Charles Erickson

There’s a good reason the world premiere of Chad Beguelin’s “Harbor” at the Westport Country Playhouse is recommended for ages 16 and up. Even sailors would blush at some of the raw language and circumstances presented in this play. Billed as comedy, the first act will have you laughing out loud, but the second act is pure drama. 

No ups and downs on Goodspeed’s “Carousel”

Written by Joanne Greco Rochman
Thursday, 30 August 2012 13:24

“Ride on the merry-go-round, ride a mile for a nickel,” sings James Snyder at the Goodspeed Opera House.—Diane SobolewskiAs distinct as it is gay and alluring, carousel music fills the air in East Haddam and has people turning their heads looking for the source. They soon discover that there is neither an amusement park nor a carnival nearby. It is only when they climb the steps to the Goodspeed Opera House, that they realize that like the Pied Piper, the happy melody is playing here and has drawn them to a performance of Rodgers’ and Hammerstein’s “Carousel” now on the Goodspeed stage. And what a production it is. 

Directed by Rob Ruggiero, a master of timing and romantic vision, never has a production of this show passed so quickly and so emotionally. The audience is reluctant to leave, even after a standing ovation. It’s too easy to say it’s because the star of the show, James Snyder as Billy Bigelow, is such a mesmerizing tenor. It’s not enough to say that when he sings, he carves the words of Hammerstein and the music of Rodgers deep into heart and mind. It’s the whole production that succeeds. It confirms what so many critics claim, which is that “Carousel” is the best musical of the 20th century.  

Erin Davie has replaced Teal Wicks as the naēve and shy Julie Jordan, the factory worker “good” girl. Julie falls in love with carousel barker “bad boy” Billy. Davie is quite charming and fits the role well. Together Davie and Snyder make beautiful and memorable music. They are not alone. Carrie and Mister Snow are another couple of lovers. Jenn Gambatese as Julie’s best friend Carrie adds a liveliness to the part that has too seldom been rendered. Jeff Kready as Enoch Snow plays the love of Carrie’s life and has an infectious and contagious laugh that never fails to engage the audience. Both of these actors add the comic relief so necessary as Julie and Billy’s sad story plays out.