"Bell Book and Candle" at 2nd Story

By Richard Pacheco

            The 2nd Story Production of the classic John Van Druten play, "Bell, Book and Candle" is refreshing, spirited and well acted. Onstage attempts at efforts which involve magic can go badly awry, but not here. The Broadway play was turned into a film with Kim Novak and James Stewart and on Broadway with Rex Harrison and Lilli Palmer in the lead roles.

            The three act play is set in the fifties and encompasses the efforts of a witch to cast a spell on one of her tenants around Christmas. She finds him attractive, but that is more or less somewhat pedestrian until she learns from her Aunt Queenie, also a witch, that the publisher,  Shepard Henderson is engaged to her old college nemesis. That is all Gillian needs to shift into high gear to break up the engagement and extract her revenge for past wrongs. She rushes in with cat and conjuring to make it all come about. Yet she still wants to keep the truth about her being a witch from her new boyfriend despite the efforts of her aunt and brother Nicky to clue him in somewhat subtlety.

            Valerie Westgate is Gillian, the witch with a desire for love even if it means the possibility of losing her powers. She is sheer delight and watching  her transform from disinterested and only mildly concerned about her attractions to Shep to nearly being obsessed with him when she learns he is the fiancé of her hated college rival is fun, mischievous fun. She is poised and dazzling as she delivers one liners with well aimed perfection and consistently. When she discovers her family and a writer researching witchcraft for a new book are gong to reveal her to Shep and she shines.

            David Nando Rodgers is Shepard Henderson, a man caught up in things he doesn't understand and beyond his control. He delivers a deft mixture of somewhat bumbling innocent and unsuspecting dupe with finesse and comic excellence.

            Then there is Auntie Queenie, played with flair and aplomb by Isabel O'Donnell. She is well intentioned but somewhat inept as a witch. She is lovable and endearing.

            There is also  Nicky, Gillian's meddling brother. He oozes self confidence and flair, cuts a dashing figure. He has a flamboyant flair that is entertaining.Chalres La Frond is excelelnt, the perfect mixture of sass and irreverence.

            Finally there is the witchcraft book writer, Sidney Redlitch, who has her own somewhat wrong ideas about witchcraft from information fed to her to cover up the witches' antics. She finds herself gliding from  and arrogant know it all to someone in awe and fear in the face of real witchcraft, trembling and in serious doubt. Susan Bowen Powers handles it with skill and sincerity.

            This is all brought vividly and entertainingly together with the able direction of  and sure hand of Mark Peckham. He evokes such as definite and elegant rapport from his cast. This is a real classic comedy that sparkles vividly to life with a terrific cast and great direction. Jullian Eddy's scenic design is apt and excellent for the in the round space.

            Through Sept. 3 at 2nd Story Theatre at 28 Market St. in Warren. Tickets are $20 to $40. For more information, go to www.2ndstorytheatre.com or call (401) 247-4200.

"Beauty and the Beast" at Theatre by the Sea

By Richard Pacheco

            "Beauty and the Beast" currently at Theatre by the Sea is musical extravaganza, a treat for eyes and ears, sheer delight for all ages. This spectacular production is marked by stunning sets, glorious costumes and propelled by an extremely talented and flashy cast. The choreography is stand out too, vibrant, daring and dazzling.

           

The story is well known, a musical with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton. Adapted from Walt Disney Pictures' Academy Award-winning 1991 animated musical film of the same name – which in turn had been based on the classic French fairy tale by Jeanne-Marie Leprince de Beaumont. "Beauty and the Beast" tells the story of a cold-hearted prince who has been magically transformed into an unsightly creature as punishment for his selfish ways. To revert into his true human form, the Beast must first earn the love of a bright, beautiful young woman whom he has imprisoned in his enchanted castle before it is too late.

            This show is sheer delight, a real spectacular event that you see. The small stage nearly burst with the rampant spectacle that ensues. Director Bob Richard shows a sure and certain hand, that is always totally in control and riveting. The two hours and 40 minutes seems to soar with one delight after another. Diane Laurenson, who happens to be the director's wife does the choreography and is so rich and phenomenal in all its aspects. It is all faithful to the film as much as you can be onstage.

            Lauren Weinberg is Belle, the beauty in this tale. She has a vivacious stage presence that sparkles throughout. Her voice is a sheer delightful and has many opportunities to shine which she does. Her duet with Gaston, "Me" is a delight as is her reprise of "Belle" and with "A Change in Me."

            Phillip Bryan is just as wdonerful as the lumbering, nasty prince transformed into a beast. His voice is rich and robust a vivid baritone that haunts and lingers in the mind. He shines with  "How Long Must This Go On" and wondrous and magical fog filled "If I Can't Love Her" which is simply splendid.

            Of course there is more vivid support coming from the bully with braggadocio, Gaston played to  perfection by Wayne Hu. He captures the smug. self satisfied  pomp of the character with flair and energy. This opera singer has a big voice and stage presence particularly as he uses his diminutive sidekick, Lefou played with flair and finesse by the talented Josh Walker.

            The castle has it share of delights too with Lumiere, played by Josh Houghton with poise and skill and terrific comic timing. Or Mrs. Potts played by Ellen Peterson with presence and robust energy. Jeffrey Johnson is winning as Cogsworth, complete with the pendulum in his chest and his comic flamboyance. Belle's father, the eccentric Maurice, seems a little less developed by Thom Warren.

            There are other fine touches throughout, like Reid Taylor as Chip and the ensemble which is a delight with their dancing and singing.

            The orchestra led by led by Jesse Warkentin, was terrific, playing with impeccable energy and finesse. The sets and scenic design by Kyle Dixon is phenomenal, rich in its complexity and varied riches. The same can be said of the costumes by Miguel Angel Huidor and special touches with wigs by Michael Dates and prestehtics designs for the beast by Dena Oliveiri.

            This is a treat from beginning to end no mater your age. See it! You won't regret it.        “Beauty and the Beast” runs through Aug. 12 at Theatre By The Sea, 364 Cards Pond Rd., Matunuck. Tickets are $46-$72. Call (401) 782-8587, or visit theatrebythesea.com.

"The Music Man" at Theatre by the Sea

By Richard Pacheco

         

   "The Music Man" is a musical with book, music, and lyrics by Meredith Willson, based on a story by Meredith Willson and Franklin Lacey and is currently playing at Theatre by the Sea in a spirited, energetic and fun production. The plot concerns con man Harold Hill, who poses as a boys' band organizer and leader and sells band instruments and uniforms to the naive Iowa townsfolk, promising to train the members of the new band. Harold is no musician, however, and plans to skip town without giving any music lessons. Prim librarian and piano teacher Marian sees through him, but when Harold helps her younger brother overcome his lisp and social awkwardness, Marian begins to fall in love. Harold risks being caught to win her.

            This was a winner from the start, with its talented cast shining and the supporting cast adding robust glimmer and pizzazz to it all. While still an element of its era, this show shines thanks to the terrific cast.

            Jason Ostrowski is the slick con man, Henry Hill, who still has a heart beneath his cons and slick exterior. He has a definite presence and that is full of style and class. His rich baritone is silken and resonant, the perfect musical foil for the uptight librarian, Marian (Tiffan Borelli). Hill is the epitome of a con man, smooth talk and superficial style. But this con man has something more underneath, an emotional Achilles hell and Marian will find it. His presence is powerful and intriguing for Marian and the audience. He sings "Trouble" with convincing style and gusto. His duet with Borelli on the bridge is sheer delight in "Til There Was You."

         

   Tiffan Borelli is a delight as the somewhat stuffy, pristine and proper librarian, Marian. She has finesse and style. Her voice is sweet and sincere and fine contrast for his solid baritone. Marian is a young woman caught up in her very pristine life, being a librarian and not really having a social life or any romantic prospects--until Henry Hill comes into the picture. She is wary, even suspicious of him and even when she gets reaffirmed in her quest to find out more and sees his questionable character, she is still drawn in magnetically with increasing passion and disregard of his spurious past. She sings with sincerity and passion in songs like "Goodnight My Someone" and "My White Knight."

          

  There is a lot to life here with the large cast, all of who deliver the goods consistently.

            Tom Gleadow once again shows his skills and comic finesse as the mayor, Mayor Shinn. He can be blustery or confused with just the right flair.

            Lorinda Lisitza is a delight as his daffy, music enthralled wife, Eulalie for some great comic touches throughout.

            Charlie Cowell (Dan Prior) is a traveling salesman determined to unmask Hill as the fraud he is delivers a fine performance. His comic timing is winning and winsome.

            Patrick Conway is Hill's longtime friend and associate who struggles to help him including warn him when it all seems to be closing in to bring Hill disaster and arrest.

            The rest of the supporting cast are just as fun and talented.

            Everything is right on the mark here. The period costumes by Jeff Hendry are impeccable with just the right period flair and style, particularly the women's hats and dresses. The choreography by director Richard Sambellico is exquisite, robust, vital and sleek. In “Seventy-Six Trombones” it shine with real gusto and fantastic dance moves, acrobatic to the point of being like a circus. he directs his fine cast with sincerity and conviction. evoking the best from the best consistently. Musical director Eddie Gutman keeps everything musically on track without a hitch.

            The show is very much a product of its era, but survives that rather well with the fresh, inspiring performances and style of the entire cast.

            “The Music Man” runs through July 15 at Theatre By The Sea, 364 Cards Pond Rd., Wakefield. Tickets are $46-$72. Call (401) 782-8587, or visit theatrebythesea.com.

“King Elizabeth” at the Gamm

By Richard Pacheco

            The Gamm is doing a new version of Frederich Schiller’s “Mary Stewart” adapted and directed by Gamm Artistic Director Tony Estrella. While there are some slow moments in it, the acting is excellent and vibrant.

          

Estrella has taken the 217-year-old play of gender politics and tried to make it more accessible for contemporary audiences. Schiller tells the tale of the battle between Queen Elizabeth and her archrival and cousin Mary Stewart with Mary’s 19-year imprisonment and eventual execution. To do so, he takes a look at gender politics.

            The two women were at the time they loved the two most powerful in England and rivals for the throne there. One of the other aspects in the play is the then rivalry between Catholics and Protestants in England at the time. It is intense and vibrant as their disagreement grow an Elizabeth often finds her wishes at odds with her advisors, who often view her as weak and not in control.

Jennie Kane is Elizabeth. She is proud, a bit aloof, reluctant to kill her cousin Mary to protect her throne. She manages to wriggle in between the intricacies of political bantering and disagreements. She knows how to handle the men who constantly attempt to rule over her and get in the way of her wishes. She is determined and stalwart, aware of her position and unafraid to fight for it, to maintain it and transcend it. Kane is winning in the role, the epitome of poise and style. She is elegant and restrained with conviction and passion.

Marianna  Bassham is Mary Queen of Scots, the Catholic pretender to the throne of England and Elizabeth’s cousin. She has been imprisoned for 19 years at the mercy of Elizabeth. She is stalwart in her determination to keep things as friendly as possible, not very easy under the circumstances.  She is every inch the match for Elizabeth, ready to go the distance with her, no mater what it takes. Yet she is also weakening under the strains of imprisonment, showing sign of wear and weariness. Bassham brings Mary to life with vigor, energy and honesty. She aptly captures Mary’s mixed feelings and passionate desire to reverse the circumnutates if possible.

The two of them are excellent together with the right balance of passion and intellect, the mixture of a fierce fight literally to the death even with Elizabeth’s reluctance to send her cousin to death by beheading.

Wendy Overly is Mary’s nurse, loyal and steadfast no matter what it takes. She is supportive and practical, a true ally as well as servant. Overly is sincere and vibrant in the role.

The rest of the cast is winning support, full of vitality and finesse. There is Sir Amyas Paulet, played by Richard Noble, who accepts his role as Mary’s protector and jailer. He knows his duty and fearlessly pursues it while never losing his sense of reason and common sense. There is the ruthless and inflexible Lord Burleigh, Elizabeth’s advisor,  played with conviction and poise by Cliff Odle, Justin Blanchard is Leicester, who loves both queens with conviction and honesty, genuinely torn between them, caught in the tangle of his convoluted facts which are necessarily alternative to truths. Then there is Clara Wesihan as Davison, the Queen’s secretary who is ensnared in the miasma of middle management, a dangerous place to be amidst all the relentless intrigues which abound.

Tony Estrella directs with conviction and energy that in his adaptation he transforms into something more bout the 21^st century than the 15^th century.

The costumes by Amanda Downing Carney are contemporary and work very well.  The set is minimal with two large post modern images of queens on the back walls. That is all that is necessary.

It is a winning production full of fine acting. While at times the play seems to strain for contemporary relevance it is a good vehicle for the talented cast.

            It continues at the Gamm until May 28. Shows are at 7 pm except for Friday and Saturday when they are at 8 and on Sunday with a matinee at 2 pm and show at 7 pm. Tickets are $44.75 - $52.75. http://www.gammtheatre.org/   172  Exchange Street, Pawtucket, RI 02860  |  BOX OFFICE :  401-723-4266​​ 

“The Best of Everything” at 2nd Story

By Richard Pacheco

            “The Best of Everything” at the 2^nd Story Theatre is a play based on the Rona Jaffe controversial best selling novel about sexual politics in 1960’s Manhattan. Set in the pre-women's liberation era, “The Best of Everything”, tells the story of five young and impressionable secretaries who are new to Manhattan and publishing and their adventures to find a nice boy to take them out to dinner, and possibly lasting love while dodging the garter snappers and lotharios at Fabian Publishing. While it was highly provocative and controversial at the time, it seems rather tame and mild today.

          

  The play, adapted by Julie Kramer from the novel and it revives a feeling for the era and its definite oddities and manners and mores. For many, women it was a more limiting time with less options to choose from to live their life. The period as well as evoking nostalgia in the form of fond memories also evokes an era of McCarthyism and rabid ear of communist amidst nostalgia about the Norman Rockwell vision of the American family.

            The cast is superb, bright, funny, full of finesse. Kira Hawkridge directs with deft touches throughout, rich in movement and wit as well as touching moments.

Kerri Giorgi is Caroline Bender, an ambitious young woman with a broken heart who finds herself in New York with a desire to be an editor at Fabian Publishing. She is smart, pretty and polished. Devastated by her fiancé running off to marry another, wealthy woman, she finds herself on another path, one in publishing, no more married life stay at home wife. Giorgi is pert and vivacious in the role, exuding not only a strength and persistence, but also a vulnerability that is convincing. Giorgi is a delight in the role.

The bevy of secretaries includes, Mary Agnes Russo, a somewhat gossipy and naïve woman; Brenda Zaleski, a schemer; April Morrision, a small town girl who often says funny things without her knowledge; Amanda Farrow, the only female editor at the publishing house, tough and tenacious; and Gregg Adams, a temp and actress with loads of ambition and not as devil may care as she seems on the surface.   

        

There is also the men who haunt their lives, like Eddie Harris, Caroline’s former fiancé, Mike Rice a handsome and dissipated alcoholic, David Wilder Savage, a dashing womanizer, Mr. Shalamar, the editor in chief both drinker and garter snapper and finally Ronnie Wood, a small town boy who is genuinely sweet.

Jennifer Michaels is the gabby, pleasant but somewhat daffy Mary Agnes. She cavorts about with zest and energy, full of gossip and tales. She sincerely wants to be married and out of the secretarial pool and that is her ambition. Michaels is a delight in the role, with a quirky sense of personality that is endearing,

Melanie Stone is April Morrison, the small town girl a bit taken aback by her escapades in NYC and a bit timid in matters of love, but a genuine thirst to know. Stone offers an offhand charm and innocence that is just right for the role.

Rae Mancini is the only female editor at Fabian Publishing, a kind of legend who is smart, sassy, tough and unmarried but still holds dreams of wedded life. Mancini is the solid blend of hash and professional and still desirous of married bliss.

Valerie Westgate is the actress and temp, Gregg. Gregg appear devil may care, but she has hidden feelings underneath that run deep, very deep. Westgate is vivacious and sassy in the role, a wannabe ingénue with still romantic notions for only the right man. Westgate is fascinating in the role, full of an edgy charm and deep feelings.

Rachel Perry is Brenda, a bit of a schemer and a trifle bit manipulative. Perry is right on the mark with the role, full of enthusiasm and sharp edges when needed.

David  Sackal is Eddie Harris, Caroline’s former fiancé who still seems to lurk in her life at times. He is full of himself and sees himself as the lead on a romantic novel. He is massively self absorbed. Sackal is steady with his creation of Eddie, with just the right touches of egotism and charm that is imperative for the role.

In the rest of the male roles is David Nando Rogers. He is adaptable and poised managing to find just the right touches for each of the different characters with passion and skill.

Kira Hawkridge’s direction is impeccable, full of nice touches like the movement she guides her cast through at various points which add an almost ballet element to the play.

It is a delightful production if the play seems a bit too nostalgic of times gone by. It continues until May 28 upstairs at 2^nd Story Theatre, 28 Market Street

Warren, Rhode Island 02885. Box office: 401 247 4200. http://2ndstorytheatre.com

“Art” at 2nd Story Theatre

By Richard Pacheco

            “Art” currently at 2^nd Story is s smart, funny, vibrant play brought vividly to life by an exceptional cast with great interactions and sheer chemistry. “Art” is a play by Yasmina Reza that premiered in 1994 in Paris. The English-language adaptation, translated by Christopher Hampton, opened in London's West End on 15 October 1996, starring Albert Finney, Tom Courtenay and Ken Stott and ran for eight years. It opened in New York in 1998 and was awarded the Tony for best play and the best actor award went to Alfred Molina.

            The production at2nd Story is energetic and funny propelled by some terrific acting and great cast chemistry. It revolves around an massively priced totally white painting which evokes considerable controversy between a group of friends including the man who bought it, the painting’s main detractor and another friend who finds himself in the middle of this artistic battle of worth. The paining is stark white with evidently subtle variations. Is there something more there in the painting? What it evokes between the friends is not merely a battle over the painting’s worth or aesthetic value, but reveals much deeper wounds.

            In the resulting production the laughter is relentless and nearly non stop.

            It begins with the purchase and with Marc’s often smarmy, condescending disgust with the painting, minimizing its monetary and aesthetic value. It is Serge who bought the painting and then mutual friend Yvan comes into the picture and vacillates back and forth between liking it and not.

            Ed Shea, who also directs is Marc, who is the epitome of artistic condescension and aloof nastiness. He is vividly clear in hits distaste for the painting and the huge price his friend paid for it. Marc has a nasty streak that transcends all bonds of friendship, and he is determined to make his opinion clear with unmistakable haughty bite that oozes disdain from every pore. Shea is a delight, plunging through this with vigor and conviction and he comes across as the epitome of vitriolic nastiness.

            Luis Astudillo as Serge is confident in his purchase, not only of its monetary value but its artistic one as well. He is proud of his choice and willing to defend it against all comers including his friend Marc. Serge is well off, and confident in his own ability to decide what to buy and its value. Astudillo is confident and convincing with a deft and funny performance. It is a delight.

            Finally there is Kevin Broccoli as Yvan, who vacillates from g the painting. Concerned by his personal life which is going to hell in a hand basket and his wedding plans take weird twists and turn and seem to be going kaput. He is only day away from being married and the infighting between his parents and stepparents are battling to the death over various details with relentless determination and sheer selfishness. Broccoli is wonderful, delivering a masterful performance full of just the right touches and loaded with humor which he extracts to perfection during some monologues.

Shea directs with a light touch, very minimalist and right on the mark. It is a terrific directing job.

            It runs 70 minutes without intermission. These three actors deliver with flair and finesse. They are uproarious and vastly entertaining and well as able to show a deeper level of issues going on underneath the surface.

“Art” runs through May 21 at 2nd Story, 28 Market St., Warren. Tickets are $25 and $35. For more information, go to www.2ndstorytheatre.com or call (401) 247-4200.

“Inherit the Wind” at Ocean State

By Richard Pacheco

            “The current production of  “Inherit the Wind” at Ocean State Theatre sparkled with dazzling performances, propelled by energy, sincerity and conviction. The play by Jerome Lawrence and Robert Edwin Lee, which debuted in 1955. The story fictionalizes the 1925 Scopes "Monkey" Trial as a means to discuss the then-contemporary McCarthy trials. It ends up a debate about creationism versus evolution and a matter of oppression of free thought and a right to dissent for the overall moral climate and standards. The case which inspired it, which resulted in John T. Scopes' conviction for teaching Charles Darwin's theory of evolution to a high school science class, contrary to a Tennessee state law.  Yet this is not meant to be an historical account per the playwrights, Jerome Lawrence and Robert Edwin Lee and many things in the play differ from the real Scopes trial.

            In the play, the situation is the same as high school teacher. Bertram Cates does the same in his highs school class to meet the ire and condemnation of the town and a legal nightmare as he is arrested for violating this law. This action brings national attention to the small, traditionally religious town. It brings in the big legal guns to battle it out in the courtroom, the bombastic, self-confident Matthew Harrison Brady ( based on William Jennings Bryant) , a three time presidential nominee and an avid and determined religious zealot to prosecute this threat to established Bible guideless and dogma. On the other side in attracts famed atheist and legal lion, Henry Drummond (based on Clarence Darrow) who opts to defend the young teacher, at the behest of a Baltimore newspaper, the fictional Baltimore Herald, amidst the hailstorm of media circus which also descend upon the previously quiet town.

             It all takes place in the courtroom and the jail and hotel as well as outside.

            Tom Gleadow is Drummond, the factious Clarence Darrow. He is a pan of dedication and purpose, determined to stand up for free thought against all efforts to imprison it and the person who tries to talk about evolution in the schools. Drummond is the epitome of rational thought, at once intelligent and legally clever, able to deftly dance about and around obstacles in his path with almost effortless grace and confidence, propelled by his intelligence and raw passion and determination. He is a relentless advocate for free thought and free speech. Gleadow is a delight in the role; he offers a real presence and poise. He is easy going and charismatic, a sheer force of nature as Drummond.

            Brandon Whitehead is Brady, his opponent and one time close friend and confidant. Brady is a zealot, filled to overflowing with religious zeal to the point of being almost irrational about it. Brady believes in God in no uncertain terms. He believes in the Bible and anything which contradicts it deserves to be condemned. Anyone who challenges it in any manner deserves to be punished. He is sincere in his beliefs and dedicated to them in the face of any and all obstacles. He will not be swayed. Do not dare stand in his way or face the wrath of God as found in the passion of Matthew Harrison Brady, his servant and advocate. Whitehead is perfect in the role, making Brady a sincere and passionate man, who will defend what he believes with all his might and intelligence. He is a moral man with his principles, which he defends openly, honestly and with zeal. Whitehead is convincing as the sincere religious man who holds fast to his principles no matter the forces against him.

            Mark Dante Mancini is the teacher, Cates. Cates is dedicated and determined to bring forth science in the face of religious obstructionism without necessarily deducing they are at odds. He is a sincere teacher with a genuine caring for his students and for the truth. Mancini is sincere and convincing, robust with youthful enthusiasm and concern. He delivers a polished performance.

            Steven Liebhauser is E.K. Hornbeck the newspaperman from the Baltimore Herald. He is full of wise cracks and a somewhat cynical view of human nature as well as a particular dislike for religious zealots. He is a mixture of smart aleck and truthful in his pursuit for facts. Liebhauser is the right mixture of irreverent and determined in the role, full of flamboyant flair and finesse.

            There is solid support coming from the rest of the large cast. Nora Eschenheimer plays Rachel, Cates’ fiancé.  She is pert, honest and sweet in the performance, as she supports her fiancé with everything she has even in the face of her father. Chris Perrotti is Rev. Brown, a man of determination and religious convictions to defend his view of the Bible And God in the face of all threats like Cates. Perotti is excellent a mixture of unbridled passion and energy in the role. The rest of the large cast such as Mark Cartier as the judge and Karen Gail Kessler as Brady’s wife are all top notch.

            Fred Sullivan Jr. does a wonderful job directing all this, keeping it moving along with passion and energy. He makes the most of his fine cast with great skill and passion.

            Scenic designer Erik D. Diaz has developed a sparse yet highly effective set which invokes more than it actually shows, but ends up being very rich and vivid, a winning environment for the play.

            “Inherit the Wind” at Ocean State is a superb theatrical experience, punctuated by a winning cast, direction and set. It is rich and vivid and invokes intelligently some issues, which have confronted society over the past several presidential administrations.

            It will continue at Ocean State Theatre Company 1245 Jefferson Blvd. Warwick, RI 02886 , through April 16. Evening shows at 7:30, matinees at 2 pm. $24 to $39. Box Office, 401-921-6800. http://www.oceanstatetheatre.org