“The Gin Game” at Theatre One

By Richard Pacheco

D. L. Coburn’s Pulitzer Prize winning “The Gin Game” currently at Theatre One in Middleboro is bright, funny, well-acted and energetic full of convincing passion and humor. Weller Martin and Fonsia Dorsey, two elderly residents at a nursing home for senior citizens, strike up an acquaintance. Neither seems to have any other friends, and they start to enjoy each other's company. Weller offers to teach Fonsia how to play gin rummy, and they begin playing a series of games that Fonsia always wins. Weller's inability to win a single hand becomes increasingly frustrating to him, while Fonsia becomes increasingly confident.
             While playing their games of gin, they engage in lengthy conversations about their families and their lives in the outside world. Gradually, each conversation becomes a battle, much like the ongoing gin games, as each player tries to expose the other's weaknesses, to belittle the other's life, and to humiliate the other thoroughly.
            A two-person play can be very challenging. It demands a lot of the actors including a simpatico and connection that is front and center. You have that here with two very accomplished actors moving through the play with ease and astute comic timing.
            Omer Courcy is Weller, a man confident in his ability to play bridge although not that thrilled with other aspects of his life. Due to his divorce he has lost touch with his eon. Bad business dealings left a bad taste in his mouth and he is upset to be in a nursing home with only one way out. He craves company and some kind of connection, some human contact and emotional richness that is lacking in his life. But he would be reluctant to mention it. It makes him ornery when it comes to playing gin.  And it infuriates him with the novice Fonsia whips one him game after another pushing the limits on beginner’s luck to the breaking point.
            Courcy is a delight, full of sass and impeccable comic timing. He can deftly gets laughs from his expression when warranted. His gestures and movement as well as line delivery is a delight.  He does cranky with dexterity and finesse. He knows how to get the best out of it so does so.
            Kathy Bourne is his match as the somewhat timid Fonsia. Fonsia is burdened by a life that did not go the way she would have liked. These various disappointments make her liberal with her story to put it mildly.  She likes to appear the victim and the hands of a most unfortunate fate that continually grinds her down. She yearns to teach out for something, someone to connect with and somehow diminish her unhappiness and despair. Weller is it. Yet she is somewhat frightened by his temper and how seriously he takes playing gin. There is an attraction revulsion going on here that grows more intense and layered as they play more and more gin.
            Bourne is a delight. She is full of energy and the right mix of timidity where needed. She can rise up and match Courcy’s rage or cower in self-defense as required. She too has excellent comic timing and is a good foil for Courcy. She is sincere in her portrayal with great poise and dexterity.
            Director Peg Holzmer keeps her talented cast gliding along with purpose and dexterity. She deftly directs their tricky matter of their card playing while speaking their lines with impressive eye for detail and conviction and truthfulness. The card games do not even appear slightly false. She keeps the timing impeccable with the laughs coming fast and furious.
            It is a solid and enjoyable production from beginning to end with some surprises and expertly acted.
            It will be presented again Friday and Saturday13,14,20,21 at 7:30 and Sunday Matinees Jan 15 & 22 at 2pm. Tix’s $20 Gen Admission and Students and Seniors $18. Cash Only at the door. Doors open ½ hour prior to show. They collect food donations at all our performances for Middleboro COA Senior Pantry. Call (774)213 5193

Alley Theatre, 133 Center Street, Middleboro, MA

“Never the Sinner” at Your Theatre

By Richard Pacheco

            The production is sparkled by driven and exciting performances and keen direction. The play by John Logan (​"​The Last Ship" and Tony Award for "Red" on Broadway) explores a complex and twisted relationship between two young men in search of passion, intellect, and the perfect crime.

             Two lovers believed they were supermen and decided to commit a murder just to prove they were. It backfires as they botch all kinds of things which come back to haunt them as the police find the body swiftly and also ever increasing evidence against them. The play is a compelling look at their dark personalities, their evil natures and how it developed to the point of murder and its aftermath while believing they were absolved of all responsibilities for their actions.

            Ian Vincent is Nathan Leopold, highly intelligent, totally awkward socially and inept in personal interactions except with Loeb. He is a law student and also studies ornithology as well in Chicago. He is shy and morally distant, downright evil and impeccably intellectual. Most people are nothing more than ants to him and he is aloof and condescending to them. He seems to care more about all variety of birds than people. Even interacting with Loeb’s girlfriend, rude, crude and dismissive of her with a determination and icy fierceness that is disturbing. Vincent is excellent as the aloof and darkly motivated, coolly condescending Leopold. He aptly captures his bumbling shyness with great skill and finesse. He also displays his dark, icy evil with dexterity and polish.

            Michael Eckenreiter is the suave, personable Loeb with his winning smile and slick demeanor, adored by ladies and fascinated crowds right until through the trial. He is like a matinee idol obsessed with his mother, devastated as much as he can be with she does not appear at trial and seems to disown him. A dapper dresser with a playboy demeanor he is also totally cold and emotionless to all but his lover Leopold. Intelligent and socially distant, he is the impulse behind this murder experiment. He knows how to manipulate, as does Leopold. Eckenreiter is on the mark as this sleek sociopath, managing to be charming and chilling simultaneously. He reveals his underlying viciousness wrapped perfectly in a polished exterior of charm and finesse delivering a chilling portrayal.

            Also on hand for the sentencing sessions, as the trial has been bypassed by legendary attorney Clarence Darrow and his adversary state’s attorney Robert Crowe.

            Crowe is a determined and dedicated prosecutor with a strong moral compulsion in his nature. He sees these two as the epitome of evil deserving of the worst possible punishment, hanging. He is prepared to do whatever is legally necessary to accomplish this. His strong oral as well as legal compass keeps him on target with relentless determination. Taylor Cormier handles all this with expertise and sincerity. He is utterly convincing in his passion to get these two evil men hung. His final monologue pleading for the death penalty is poised and vividly emotional, pleading with sincerity and conviction.

            His adversary is the legendary Clarence Darrow. Darrow is a lifelong opponent of capital punishment. Darrow also took part in the Scopes Monkey trial. He considered himself a country lawyer but his wit and courtroom finesse proved beyond any doubt that he was not a country bumpkin, but rather a skilled litigator with a sharp intellect and peerless wit. He went from city law to more union oriented until bribery charges forced him into criminal law.  John Softcheck has the poise and presence necessary to pull of the role. His Darrow is amiable, smart and an incisive with filled with confidence and bravado. Softcheck delivers with energy and conviction. His final speech pleading for the boys not to be hanged is rich with nuance and honesty.

            There are many other supporting actors in the play who play several roles each. Mark P. Fuller, Stephanie Parquette, Lee Bonia and Dennis Smith all play both reporters and other roles. They add some depth and atmosphere to the play with solid, convincing performances that are energetic and skilled.

            Ed Maguire directs it all with zest and frankness. He evokes the best from his actors and offers vivid relationships between them, convincing ones. The synergy he gets from Leopold and Loeb is impressive both sincere and chilling simultaneously.

            This is a splendid production that resonates with skill and depth, echoing a conflict between the restraint of law and the rabid deluded insanity of the killers who thought they were aloof and above the law, somehow super human not bound by what binds the rest of us. It is well worth seeing for not only the vivid and articulate performances but for the realms of morality it plumbs.

            The shows run Thursdays through Saturdays January 12, 13, 14 and 19, 20, 21 at 8 p.m. with 2:30 p.m. matinees on Sundays, January 15 and 22. Performances are held in the wheelchair accessible Your Theatre, Inc. Playhouse, 136 Rivet St., New Bedford, at St. Martin's Episcopal Church Complex.

“American Buffalo” at the Gamm

By Richard Pacheco

            David Mamet’s “American Buffalo” is an Am4rican classic, both praised and condemned when it first appeared. What was undeniable held by both admirers an detractors was the raw emotion and raw language that permeated the play with such vigor and conviction as well as bluntness. That has not faded at least in this production at the Gamm. It is a play about crude characters with crude language and no holds barred.

        

    Donny owns the ratty junk store where the play occurs. It is cluttered and cramped, overflowing with odds and ends that infiltrate everything. It all begins after Donny sells a buffalo nickel to a customer for $90 but later suspects it is worth considerably more. He and his go for Bobby plan to steal it back. Bobby keeps watch over the house and reports the guy has left for the weekend with a suitcase. Then Donny’s buddy Teach comes over and convinces Donny to dump Bobby, who is not the brightest bulb, and use him in the robbery instead. Te4ach is even more ambitious wants to rip off the whole collection. Donny insists his poker buddy Fletcher be brought in to the caper. The second act propels this all forward with unexpected consequences.

            Trinity Rep’s Fred Sullivan Jr. as Donny delivers a winning performance, a combination of boisterous

bluster and sincere heart. It is a poised, controlled performance that is rich and winning. He makes a wining addition to the ensemble with finesse and flair. Donny is a kind of dreamer or sorts in his junk shop, hoping for bigger and beter things but no exactly having the abilities to follow it through.

            Marc Dante Mancini is the young Bobby, an endearing young man who is not all that smart. He is very slow, doesn’t always catch everything but is sincere. It is a sparkling performance full of nice touches. There is a naiveté that is engaging he displays with assurance and skillfulness.

            Finally there is the explosive Teach played by Artistic Director Tony Estrella with seething anger and raunchy power. Teach is gruff, rough in both manner and language, a no holds barred kind of guy. He is like a volcano ready to explode and explode he does in the second act with unbridled fury that seethes everywhere with raw ruthless energy. He is overconfident in the extreme. He knows he can do the job regardless under any circumstances. He has little tolerance for anyone around him and even less patience.

            It is the Mamet dialogue that sets the tone and character of this play. The banter between Teach and Donny is at times like vaudeville comedy with its sass and impeccable timing. It is often brutal and relentless with a sharp edge and refuses to yield.

            Trinity Rep Director Tyler Dobrowsky keeps the energy fast and furious rapidly moving in on the target with raw abundance.  Any difficulties in the production come for the play’s shorting comings in that there are no deep questions here norac any real conclusion or resolution to it all. The Patrick Lynch set with its two floors of tottering teetering precarious junk is wonderful and rich and sheer delight.

            “American Buffalo” runs through Dec. 18 at the Sandra Feinstein-Gamm Theatre, 172 Exchange St., Pawtucket. Tickets are $4-$52. Call (401) 723-4266, or visit gammtheatre.org.

“Paragon Springs” at Theatre One

By Richard Pacheco

            After one of the most contentious elections in American history, this play by Steven Deitz who wrote last year’s “Yankee Tavern” is particularly powerful and is based on Ibsen’s “Enemy of the People.” The resulting play is a vivid at times funny theatrical experience that is brought vividly to life as the doctor discovers some problems with the water supply for the spa, which may in fact create serious health issues. It is set in the 1920’s and puts the focus on corporate greed and the town’s self interest versus the doctors dedicated quest to expose the truth no matter the cost to him or the town. The resulting political conflict, which arises pitting brother against brother, family against family and lover against lover all for the sake of profit at all costs.

            Robert Duquette is Dr. Thomas Stockman the doctor who finds issues with the spa waters and pursues it with integrity and passion and determination despite all odds. Dr. Stockman is an idealist an dedicated doctor who is sincere is his dedication to maintain his integrity and protect unsuspecting people. Duquette is solid in the role, full of fire and sincerity, deft and able in portraying the raw determination of this man to continue regardless of the circumstances against him including family. It is a persuasive and convincing performance.

            Frank Piekut is Peter Stockman, Thomas’ brother and the mayor as well as chairman of the spa. He is the epitome of the politician, able to take opposing sides simultaneously, shifting direction at the slightest motivation whenever he feels it benefits him in some way. He can be ruthless and underhanded when it serves him. He is slick and nefarious always. Piekut is right on the mark in the role, the right mixture of bluster and deception He is bluster and poised for betrayal with a superficial charm.

            Susan  Salveston is Dr. Stockman long suffering wife. She is often an unintended victim of his dreaming and ethical determination which frequently brings a high cost for her and her family. She is resolute and faithful in her unrelenting dedication to her husband. Salveston is fine in the role, poised and dedicated. Vanessa Lima is daughter Lorna who is often the voice of reason in the difficult times. She is dedicated to her father because he taught her to be an individual. Lima is sincere and determined in the role, full  of energy and conviction.

            Manny Moitoso is editor Eric Hovstad who is conflict between printing the truth and being concerned bout the financial status of not just the town but his newspaper which is in a financially precarious position. His turmoil is vivid and genuine and Moitoso is right on target in his portrayal in a precise and winning performance. Todd Stadler is his brother Lars, who is engaged to Loran and caught up between his loyalty to his brother and love of Lorna over the issues facing the town. He is also in conflict with Lorna’s drive for true equality.

            Thom White is the realistic and somewhat callous and smug printer of the town’s newspaper. He is a mover and shaker and knows it and is not afraid to boast about it freely and frequently. White is excellent in the role, capturing the smugness and arrogant confidence with flair and convincing dash.

            Dan Groves is Hollis a man in the midst of his dreams with no clear direction, but sincere. Groves delivers and deftly nuanced performance that is rich and convincing. Elizabeth Goulart is his wife, Rose, a woman who has made clear choices but is not exactly happy with them over the years. Yet she is hopeful of a better future and continues to plod on to achieve it no matter what. Goulart is perfectly restrained and sincere in the role with a vivid and convincing performance. Finally there is Kathy Bourne as the Widow Kroger how married the now dead Stockman father and is overbearing with inflated self-importance and vast supplies of ego and self confidence. Bourne is excellent in the role and provides much of the comic touches in the play with skill and flair.

            Peg Holzemer directs with assurance and confidence, getting a fine            ensemble performances from her excellent cast.

            This is a vivid and darling production that is not to be missed.

Theatre One’s production of “Paragon Springs” continues Sunday, November 13 with a 2pm matinee; November 18 and 19 at 7:30pm and Sunday, November 20 at 2pm at the Alley Theatre, 133 Center Street, Middleboro. Tickets are $20 general admission; $18 for students and senior citizens. Cash only. Reservations are not necessary. Doors open ½ hour prior to curtain. Theatre One accepts food donations for the Middleboro COA Senior Pantry at all performances. For information call 1-774-213-5193.

“Doubt” at Ocean State

By Richard Pacheco

            John Patrick Shanley’s “Doubt” is a haunting and provocative play set in 1964 at a Catholic Church under the cloud of potential sexual misconduct. The production is riveting and powerful with a rich resonance the echoes throughout with excellent directing and staunch and memorable performances. It is all about uncertainty and how unlikely it is to ever know the truth.

            The Pulitzer Prize, Tony Award winning play is riveting as it deals with uncertainty and moving to judgment with little or no proof. This is the attracting of the play, which deals not in certainties but rather uncertainties and suspicions.

            Donna Sorbello is the fierce, relentless and doubting Sister Aloysius who was marred before entering the order. She is deeply jealous of Father Flynn’s efforts to help ht only black boy in the school who is under pressure and doesn’t feel like it fits in while the priest tries to help him, inspire him and comfort him to the dismay of the nun. Sorbello is pitch perfect as the determined nun with dark visions of misconduct.

            Greg London is Father Flynn a genuinely caring priest who opens his heart to the young boy to help him fit into the school. He has an easy going demeanor that is inviting and pleasant and Leonard deftly conveys the compassion in the priest and his dislike of the nun’s harshness and relentless spirit. He is more the embodiment of the church’s spirit and attitude than she is.

            Caitlin Davies is the young Sister James. She loves teaching and her student and is very kind to them, often inviting Sister Aloysius’ anger and disapproval. There is an innocence and genuine charm to her openness and kindness. Davies handles it all with skill and finesse, delivering a convincing portrait.

           he final member of this superb cast is Lovely Hoffman as black altar boy’s mother who admires Father Flynn and appreciates his the attention he shows her son, who suffers enough from his father with beatings and disapproval. It is a stunning performance albeit brief and when she confronts Sister Aloysius about the allegations about her son and the priest it is powerful and riveting.

            Artistic director Aimee Turner delivers her best directing job on a comedy or drama to date. She evokes, provokes the best from her actors with skill and finesse.

            Erik D. Diaz’s set is superb. Simply stunning as it adroitly evokes not only the church, but Sister Aloysius’ office and outside in the garden with an attention to detail and imagination.

            Add all these elements together and you have a winning production that resonates with sincerity and rich subtleties.

            “Doubt” runs through Nov. 20 at Ocean State Theater, 1245 Jefferson Blvd., Warwick. Tickets are $24-$39. Call (401) 921-6800, or visit oceanstatetheatre.org.

“Appropriate” at Trinity Rep

By Richard Pacheco

            Branden Jacobs-Jenkins play “Appropriate” is furiously funny and disturbing at the same time, a riveting piece of theater deftly performed by a strong cast. It is a massively dysfunctional family in full tilt, full speed ahead spare no energy. It is a rambunctious free for all with no holds barred as this family gets together to settle the property of their dead father and end up unearthing some dark secrets long hidden and perhaps best kept hidden.

           

This three-hour extravaganza rampages along like a runaway train barreling through anything or anyone in its path. The first hour is a blood fest of hurled insults anti Semitic jibes that makes the current presidential race almost look tame. The family is inexorably drawn into the past and their dead father’s apparent sins, which come to light and their own failings and inept relationships with each other. All sorts of hidden racism rises to the surface like lava from a volcano, oozing everywhere. Digging through the trash the family finds more trash and embarrassing moments from their past. There are remnants which appear in photos.

            There is no real revelation about the dead old man thought, more mere speculation and intriguing dark corners to his life kept hidden until now.

            There are some winning performances here throughout.  Phyllis Kay is an angry and bitter divorce, the sister Toni, who both regrets and resents sacrificing her life to taking care of the ailing dad and her alcoholic and drug addicted brother Frank. She can be merciless going after anything or anyone in her sights including Frank’s equally hippy fiancé 23 year old River. Kay is often hilarious as in the scene where she is totally drunk and even more merciless with her well-aimed barbs. Kay delivers an impeccable performance that is a delight to watch.

            Fred Sullivan Jr. as Beauregarde is the epitome of a southern gentleman at a loss and out of touch

with both his past and his father’s. He is robust and passionate in the role.

            Mauro Hantman is on target as the drug addled, and recovering drunk Frank (Francois) who is a totally mess but underneath appears to be kind, just out of touch and a kind of hippie. He seems to have little clue about how he has impacted other san kept his distance from the family and his past failings and there are many. It is a sharp and polished performance with many fine touches.

Angela Brazil is Beauregarde’s Jewish wife, the brunt of many anti Semitic verbal attacks from the other family members, often merciless. Her patience eventually dissipates under the relentless onslaught and she turns tail and attacks them back with rare viscous humor in a biting on target monologue where she rips the in laws to shreds.

Marina Morrisey is  Franks’ flower child like girlfriend River, who is a bit oblivious to the world around her and the people and atmosphere she finds herself drgeed in without warning or proper preparation. She is often innocent eyed and massively out of touch, convinced of her own vision ins spite of what she sees in front of her. It is an excellent performance, right on the mark.

The rest of the cast,Alec J. Weinberg as Rhys, Emeline Easton as Cassidy, Ronin W. Scott as Ainsley are all terrific.

Director Brian Mertes keeps is all moving despite its length and keeps his eye on the offbeat and the bizarre which he emphasizes. The set by Sara Brown emphasizes the dark, at times creepy decaying atmosphere of the dilapidated plantation with flair and style. Only the gauzy like screen that comes down between scenes is a bit annoying.

Yet for all its nearly rabid and pointed dialogue the family never really comes to terms with wither what their father did or even many of the things they did over the years.

It is well worth seeing for a hilarious and provocative play that is well acted and written.

"Appropriate" runs through Nov. 6 at Trinity Rep, 201 Washington St., Providence. Tickets are $25-$71. Call (401) 351-4242, or visit trinityrep.com.

           

“Billy Elliot” at Ocean State Theatre

By Richard Pacheco

           “Billy Elliot” was a huge Broadway hit garnering 12 Tony wins and the production at Ocean State is winning highlighting a star turn for the talented 12-year-old Matthew Dean who has some dazzling moments in dance in this somewhat long show.

It is a musical based 2000 film “Billy Elliot”. The music is by Elton John, and the book and lyrics are by Lee Hall, who wrote the film's screenplay. The plot revolves around motherless Billy, who trades boxing gloves for ballet shoes. The story of his personal struggle and fulfillment are balanced against a counter-story of family and community strife caused by the UK miners' strike (1984–1985) in County Durham, in North Eastern England. Hall's screenplay was inspired in part by A. J. Cronin's 1935 novel about a miners' strike, “The Stars Look Down”, to which the musical's opening song pays homage.

There seems to be a split on focus between the gritty miner’s stroke and Billy’s disparate efforts to become a professional ballet dancer. The mixture of these two diverse things at times doesn’t quite gel into a complete and polished whole. Aimee Turner who directs doesn’t always manage to get that kind of melding of contradictory elements that might indeed be part the issue with the musical itself. One of the issues is one moment he ids unhappily in boxing class and then very shortly after that he is a stunning dancer. It seems an almost effortless transformation.

Michael Dean is a deft and talented dancer, full of finesse and capturing some wonderful dance moments. His mother owns a dance school in California. He has played the role before and will play it again in Phoenix. His voice is usually capable but not as outstanding as his dancing.

Christopher Swan plays his Dad with conviction and passion. He sings and impressive “Deep Into the Ground” in the second act.

Sarah Polen is Billy’s oddball grandma, a ball of energy and not all that stable with her family. She is a ball of energy with style and finesse.

Shannon Lee Jones is Billy’s dance teacher who takes a dedicated interest in helping the boy pursue his dreams.  While she is convincing in her dedication to Billy, she is not as convincing as a dancer or carrying herself as a dancer. Dancers have a certain poise and carriage which she does not show.

Tony Weisinger is Billy’s best friend who is fond of wearing dresses and kisses on the check. The character seems a bit muddled and not well defined.

Melissa Mc Kamie  as well as serving in the company does a turn as Billy’s dead mum. She shines in “The Letter.”

The choreography for Billy is often impressive and downright stunning. For the rest it is rather ordinary and pedestrian. The musical direction by John Jay Espino is usually right on the mark.

While the show won ten Tonys, it has some severe lapses in melding together the desperate elements of the miner’s stroke and Billy’s ambition. It is very long, about three hours and enjoyable enough with those considerations in mind.

"Billy Elliot" runs through Oct. 23 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Tickets are $39-$59. Call (401) 921-6800, or visit oceanstatetheatre.org.