Motherhood, the musical at Trinity Rep

By Richard Pacheco

“Motherhood, the musical” is a merry romp into the world of motherhood with all its joys, trials and tribulations.  This spirited ensemble cast is seething with energy and talent. This makes for a shared onstage charisma that is unreliable and delightful.  There is no plot, but it really doesn’t seem to matter that much for this fun musical revue.

The so called story is framed around a baby shower for a first time mother, hosted by three of her closest friends, all mothers with vast experience in these matters. These pros are amused by the first timer’s assumptions about the nature of motherhood and what it will mean to her life.

The three friends come from different backgrounds. Brooke is an attorney and mother who’s smart and saucy as she balances her careers as mother and lawyer with skill and humor. Barb is a stay at home mom with all that entails and she is down to earth and realistic about what she does and how it is perceived. Tasha is a recently single mom, trying to adjust to those difficult circumstances and all it means to her. What all this means to the productions is loads of fun, sometimes sassy and raunchy, at other times full of sentiment without gooey sentimentality.

The cast is talented and vibrant. Everyone of them has an excellent singing voice and terrific stage presence.  They work very well together merging their talent and sheer assurance and vigor to the highest levels.

Lisa Manuli is Amy, the soon to be surprised first time mother to be. Ms. Manuli is energetic and poised as the late pregnancy stage mother to be. She is a terrific mixture of unbridled enthusiasm and inexperience. She sings “I’m Having A Baby” with liveliness and conviction.  In a totally change of pace, she becomes her own mother for a song, Grannyland” and is charming.

Becca McCoy is wonderful as the confident, smart mother/lawyer Brooke. She can be outrageous and touching by turns. She is perky and zesty, like a spicy sauce.  She is outrageous, hilarious and magic in “The Kids Are Finally Asleep.”

Jewel Lucien is a delight as newly single mother, Tasha. She is saucy and spicy, with an great singing voice. In a song like “Every Other Weekend,” she is poised and amazing with sheer vocal range and finesse. She is also excellent in “Minivan.”

Mary Kathryn Kaye is fun and down to earth as Barb, the stay at home mom. She is brisk and sincere and she bounds across the stage honestly assessing her role as stay at home mom. Singing “Mommy, Mommy, Mommy” she is utter delight, something to relish. Singing “Danny’s Mom” she is touching and endearing.

Together, they make magic going far beyond the non existent story line. The songs her are pure fun, alternating between full of sentiment to raunchy and saucy. There is some great ensemble singing here as well. They are always right on the mark with their oomph and their impeccable singing voices.  Their take offs on songs like “How Great They Were” ( with the music of”The Way We Were”) about the state of their breasts after children are raunchy and pure fun. “Costco Queen,” is another gem about shopping at Costco. The take off on “Good Lovin’” called Good Drugs is a hoot.

Lisa Shriver directs with aplomb and gusto. She keeps it all moving merrily along with her choreography as well which is bright and breezy.  Musical direction by Johnny Rodgers is precise and perky.

Together they bring an often raucous wit based on experience within the script to life vividly.  It is sheer delight despite its lack of plot and story, the motherhood references and targets for humor are well worth it.  It merrily romps along from feeling like the size of a minivan to actually driving one, to mothers and mother-in-laws when you are pregnant to sex. All of it done with flair, unbridled exuberance and a remarkable ensemble cast that never fails in talent or sheer energy. This was brought to you by the same folks who last year brought to Trinity Repertory’s, “Menopause,” last year, GFour productions.

It will continue at Trinity until July 1. All tickets are $44. You can go online to: https://tickets.trinityrep.com/Online/default.asp?BOset::WSseatSearch::Query::Clause::10::value=Motherhood or call the box office at: 401-3514242. There are discount for more than ten tickets.

Gamm Theatre’s “1984”

By 

Richard Pacheco

The Gamm Theatre brings George Orwell’s dark classic “1984” to grim and grimy life onstage in a production that is compelling, riveting and uncommonly dark despite its occasional touches of humor. George Orwell labored his entire life against the totalitarian state in his works and ironically enough his name is now associated with that dark, menacing body politic.

Written in 1949, Orwell takes this dark and hopeless world to new depths. Here, the state is everything and individuals are mere pawns, their feelings, thoughts, and even memories are disposable.  Dare to challenge the party line and you put your life and mental well being in jeopardy. It is a dark world or menace and despair, a world of constant betrayals and not knowing who to trust, a place were children turn in their parents and lovers turn on each other under torture and relentless indoctrination.

Big Brother, that omnipresent specter of a father figure is always present. Think what you are told or else, you will be cured followed by an inevitable death, a hopeless state with non escape. With Doublethink the language shrinks in words and meanings, always simplifying to eliminate nuances of meaning.

Jim O’Brien is Winston Smith a man on a journey of rebellion in spite of himself.  He find himself slipping into rebellion when he buys a journal to write his thought in, away from the prying eyes of omnipresent monitor which oversees them all. Mr. O’Brien is elegant and awkward in his journey to individualism and love in a world which tolerates neither. It’s a finely honed performance, full of alternating confidence and doubt, of hope and despair.

The other actors play multiple roles, from the almost Greek style Chorus of narrators to many of Winston’s colleagues in the ministry where Doublethink prevails and the Thought Police oversee everything.

Georgia Cohen is Julia and a host of other characters. As Julia she is Winston’s love interest, a young woman of vitality and daring, passionate and determined. She captures a fine blend between gentleness and vigor.  It is a sharply etched performance as she follows or perhaps leads Winston down the dangerous path to individuality.

Richard Noble likewise does multiple roles. At one point he is the ever passionate, stalwart party supporter, Parsons. Parsons is a man who at least outwardly believes everything along party lines with vigor and conviction. He is also O’Brien who might be high up in the resistance, a man who allies himself with Winston. Mr. Noble offers some well defined differences in his varied characters, all portrayed with zest and conviction.

Casey Seymour Kim is also one of the narrators and serves as Winston’s wife and mother. She shifts between each character with grace and ease. As Winston’s wife she is aloof and distant. As his mother she is warm and engaging.

Rounding out the cast is Jed Hancock-Brainerd who is a narrator, a technician and the ever elusive Goldstein, leader of the resistance. He is energetic and ardent in his roles.

Director Tony Estrella keeps the Nick Lane adaptation moving along rapid and with disturbing effects throughout and with its share of humor as well in this dark, dismal world. Some of the narrator movements are almost choreography and highly effective.

Jessica Hills set is just right. It is a mixture of technology and decay, flat screen televisions and decrepit plaster walls, crumbling like individuality. Marilyn Salvatore’s costumes are the right mixture of totalitarian bland. The lighting by Matthew Terry and sound by Charles Cofone, video by Mike Jones, and sound and video design by David Roy bring the final elements to bring this vividly to life. All these elements and aptly and impressively blended together into a coherent whole.

This is a sharp and vivid production, extremely well done on all fronts and getting a well deserved standing ovation at the end.  While the message might be a bit overdone in its message, it is still powerful and lasting in its effect.

It is a bold statement, still after so man years, and one particularly striking in our current country with things like the Patriot Act, and NDAA which allows the political assassination of Americans with no evidence whatsoever and no trial.  It is a grim reminder to us what can happen. As Benjamin Franklin once wrote, those who would sacrifice their freedom for security will eventually lose both.

It will be presented at the Gamm Theatre, 172 Exchange Street, Pawtucket until May 17. You can buy tickets online at: http://gammtheatre.org/ or call the box office at: 401-723-4266. Ticket prices from $34 to premium reserved for $42. Note that convenience fees range from $3.75 to $4.75 depending on performance.

Boeing, Boeing at Trinity Repertory

Boeing Boeing, currently at Trinity Repertory Theater in Providence is a merry romp, a madcap farce with non-stop laughter. Playwright Marc Camoletti keeps the pace relentless and potential hilarious disaster around very corner in this tale about a conniving architect keeping three fiancés on the hook simultaneously.

Bernard, an American Architect living in Paris deftly juggles his three fiancés with nimble aplomb, until faster jets and weather changes bring it all crashing down on his head with hilarious results and nimble attempts to sidestep disaster.

It all starts with Bernard’s school chum, Robert arrives unexpectedly. Bernard unfolds his clever feat of juggling three airline flight attendants simultaneously to his friend and suggest he try it. 

Trouble starts when faster airplanes and unpredictable weather puts the kibosh on his carefully calculated love machine. One right after another it seems like the stewardesses will collide with each other in Bernard’s apartment dragging the hapless Robert and the dour and frustrated housekeeper Bertha into the fray to put things right and keep the women from meeting each other.

Joe Wilson, Jr. is delightful as the slick and debonair Bernard. He has an air about him of both Sammy Davis Jr. and Frank Sinatra with his devil may care attitude and confidence. He has his erotic world under control, without any flaws—until today. He starts out the epitome of cool and sleek, and ends up a collapsing bundle of nerves as he world threatens to implode. His expression are priceless from cool to terrified as his world threatens to collapse around him.

Stephen Thorne is energetic and charming as Bernard’s longtime friend, Robert, a shy man who finds himself caught up in this love disaster.  Thorne effortless glides from terrified to increasingly confident as opportunities arise and he can prove he does not lose his head in a disaster. He is rich in comic expressions and frantic energy.

Rebecca Gibel is excellent as the American, Gloria. She is feisty and forward, unafraid and confident. She is sexy and seductive, full of energy.

Liz Morgan is the volatile Italian, Gabriella. She is a passionate firecracker, full of emotions and zest. She is vital and energetic, sexy and stubborn.

The last of the fiancés, Amanda Dolan as Gretchen is the epitome of both German precision and passion. She is determined to do what is best for her. She is non nonsense and yet seething passionate underneath. It’s an entrancing performance full of sass and sexiness.

Nance Williamson is sheer comic pleasure as the ever present, always dour and often sarcastic maid, Bertha.  This French maid finds herself in the midst of this unlikely conspiracy that simply wears her nerves thin. Every time she turns around there is a different meals to prepare, flowers to change in the vase and pillows to change on the couch depending on the fiancé to show up.

Director Fred Sullivan Jr. keeps the pacing relentless, the comedy broad and uproarious.

Patrick Lynch’s set design is elegant and delectable.   William Lane’s costumes are chic and elegant.

It will continue at Trinity Repertory Theater until May 13, 2012. in the upstairs theater. Box office: 401-351-4242 Ticket prices range from $15 for Bench seat to $56 for prime seating. You may also purchase tickets online at: http://www.trinityrep.com/box_office/

Trinity Rep Production of 2011 Pulitzer Play A Winner

 Trinity Rep delivered an amazing performance of the Pulitzer Prize winning play Claybourne Park by Bruce Norris. It is a rich, darkly funny and touching work that is compelling and sparked by an energetic and a pitch perfect ensemble performance by the cast. Brian Mertes helmed the New England premiere of this exceptional work.

 All the actors play multiple roles and do it with finesse and skill. It is a wonderful ensemble piece that resonates in the mind and heart long after it is gone.

When the play opens, in 1959, we find ourselves in the tidy living room of grieving parents Bev (Anne Scurria) and Russ (Timothy Crowe). Having just lost their son to the trauma of the Korean War, they are eager to leave the trappings of white middle-class Chicago in the hopes that their broken hearts will stay behind with their broken home.

 Unseen offstage, the Younger family from A Raisin in the Sun is ready to move up and into the all white neighborhood to realize their dreams. 
There is a strong undercurrent of barely spoken racism here which permeates the place. These soon to be fearful new neighbors are enduring some racially charged-meddling who are relying on weasel  like  neighbor Karl (Mauro Hantman) to talk Bev and Russ out of moving and forcing an downturn in property values by exiting

In the second act, we then return to the house in 2009 to find the changes that have occurred. Clybourne Parkis now an all-black neighborhood, and the tables, a complete reversal of circumstances A young white couple (played by Brown/Trinity Rep MFA ’12 students Tommy Dickie and acting company member Rachael Warren) attempt to purchase the home in order to renovate it. They encounter a roadblock to their plans with a young black couple (played by Brown/Trinity Rep MFA ’12 student Mia Ellis and company member Joe Wilson, Jr.) whose initial hesitations – based on superficial housing regulations – are stripped  away revealing deeper, more serious objections.

 Veteran Trinity Rep member Timothy Crowe delivers a finely nuanced performance as Russ one of the grieving parents in Act I. Mr. Crowe is understated and potent in the role. He is like a coiled spring ready to burst free as he ponders the loss of his son to the trauma of the Korean War. He has a fierce humor and often elegiac presence that is powerful and endearing. He is gruff and no nonsense. Yet he is a man of great feeling and an indelible sense of loss over his son. In Act II, he appears more briefly as Dan, a construction worker. He makes it down to earth and gritty.

 Veteran actress Anne Scurria  is his wife, Bev. She is solid and strong, with a great sense of sadness for the loss of her son but a determination to go on, to move forward no matter what it takes. She can be obstinate and relentless in her quest, but she is kind and compassionate underneath. Ms. Scurria does an exceptional job with the role, breathing life into it with great dexterity. In Act II she plays Kathy, an attorney with zest and conviction. She offers a portrait of a skilled lawyer who despite that cannot remember the capital of Morocco where she visited. She offers confidence and yet a sense of vulnerability.

 Mia  Ellis is full of poise and presence as the maid, Francine in Act I. She has an honesty that is endearing and fascinating. As Lena in Act II, she nearly does an about face on character traits.  She is outspoken, not afraid to be provocative and determined. She is fierce and blunt as Lena, fighting back years of rage and indignities as well as deep emotions.

Tom Dickie as Jim in the first act is a clergyman who is a bit wimpy and not determined to pursue his convictions. He is a man who wants to evoke peace between he meets—no matter what the cost. Earlier in Act II he is a real estate man trying to get all he parties to reach an accord about the renovations without anyone getting offended or outraged. It is another sturdy performance. At the end of Act II he appears briefly as the son, Kenneth and is touching and memorable.

 Joe Wilson as Albert, Francine’s husband is a kind honest man of conviction. He’s peaceable, but can get pushed over the limits. Mr. Wilson is a strong and energetic presence, yet not wanting to antagonize and willing to help when he can. As the husband Kevin in Act II he is a strong presence, yet determined to keep things under control and not have them erupt while discussing the renovations.

 Mauro Hantman is a delight in Act I as the pushy, self concerned weasel, Karl, who tries to convince Russ and Bev not to move and take their property values with them. He returns in Act II as Steve, the young white husband. He is skilled and full of finesse here as well, as he shows a man trying to not be incorrect and finally succumbing to his building rage.

 In Act I, Rachel Warren is winning and totally convincing as the deaf Betsy, who is married to Karl, a sleazy weasel of a man. She has some great comic touches and assurance.  In Act II, once again pregnant as Lindsey, one of the young people moving into the neighborhood she is frazzled and concerned.

 Brian Mertes directs this all with a fearless touch. He makes the most of his extraordinary cast. He draws out the best he can from them.

 Eugene Lee’s set is sparse and effective. It conjures up both locations with skill and minimal furniture and effects.

         Olivera Gajic’s costumes are simple and effectual.  The lighting design by Dan Scully, and sound design by Peter Sasha Hurowitz are also effective.

 The cast receive a well deserved standing ovation. This is strong stuff, brilliantly performed. The were impeccable, full of verve, conviction and pitch perfect timing for the at times raucous comedy as well as the more touching moments that resonate long after the play is done. It’s a don’t miss darkly comic story with its impeccable performances across the boards.

It will run through November 20 in the Dowling Theater. Tickets are now on sale at the Trinity Rep box office, 201 Washington St.; by phone at (401) 351-4242, and online at www.trinityrep.com.