“Meet Me in St. Louis” at Ocean State Theater

by Richard Pacheco

            Ocean State Theater’s holiday treat is “Meet Me in St. Louis” based on the 1944 movie and it is indeed a treat full of nostalgia, vintage Americana and simple good feelings in abundance. It is a purely fun show, a musical delight that evokes fond memories of bygone days. thing, but got some of the biggest laughs of the night.“Meet Me in St. Louis” is based on the 1944 film with Judy Garland and made it to Broadway in this version in the late 1980s. This show has spirit even with some flaws and is well worth seeing. It was the second-highest grossing picture of the year, only behind “Going My Way.^”
            It tells the tale of the Smith family in St. Louis with the 1904 World’s Fair soon toe arrive and it will be the Smith’s last Christmas in St. Louis before moving to New York for papa to pursue a promotion and a better career, despite the family’s reluctance at leaving the familiar far behind.
           Recent RIC grad Sarah Pothier is daughter Esther, the role played by Judy Garland in the movie and she has an excellent voice, full of energy and poise. She delivers a wining version of “Have Yourself a Merry Little Christmas”  and in her trio with sisters Rose and Tootie a delightful “under the Bamboo Tree.” Her acting is full of finesse and sincerity.
            Joshua Stenseth is Esther’s love interest the charming and dashing next door neighbor.  He is engaging enough in the role, managing to deliver a sensitive portrayal, but his singing is a bit weak.
            Bobbie Celine Doherty is little sister Tootie, a bundle of energy and feisty. Doherty is sheer delight in the role, and she gets some of the biggest laughs.
            Hannah Spacone is sister Rose who is flighty a bit self absorbed and blind to al the world’s feelings but her own. Spacone gives a engaging performance as this young woman.
            There is also brother Lon, played by Michael Luongo who turns out to be an exceptional dancer as well showing off his stuff in the square dance number and the delightful and winning “The Banjo” number.
            Lily McMahon is sister Agnes, who is Tootie’s partner ins crime at all times. She is a fun foil for Tootie, full of zest and sincerity.
            Rebecca Barko is their mother, Mrs. Anna Smith,  the ever dependable, loving matriarch of the family. She shines in “You’ll Hear a Bell.” She and her husband stand out in “Wasn’t It Fun.”
            Ronald L. Brown is her husband Alonzo, a bit cranky and more than a bit ambitious wanting to get a promotion at work, one which takes him and his family to New York, despite their protests. He was a terrific baritone voice which shines in “A Day in New York.”
            Mark S. Pothier is Grandpa, a warm caring man who loves his grandchildren and has a good rapport with them. Pothier shows a winning side as Grandpa, although his singing voice is somewhat lacking.
            Stacey Geer is Katie the Irish maid. She is full of energy and a distinct presence. She is an excellent singer who knows how to sell a song as she does in her trio with Mr. and Mrs. Smith, “A Touch of the Irish.”
            Director and choreographer  Gary John La Rosa makes some of the acting stylized which sometimes strikes a false note. His choreography however is impressive, from the stunning square dance done to “Skip to My Lou” with its cartwheels and flips galore. Or the rollicking “The Trolley Song” with its vibrant energy.
            Musical director Esther Zabinski is right on the mark with the orchestra, provding a rich musical accompaniment throughout.
            The sets by Charles Murdock Lucas are lovely and loaded with nostalgic touches of Americana. The proscenium mimics the old proscenium arches of turn of the 20^th century theaters with its carvings. Behind three panels in an old fashioned drawing style shows houses and it all opens on to the Smith family house filled with vivid detailed touches like vintage photographs, and a grand staircase.
            The Brian Horton turn of the century costumes are elegant and impressive both in style and number.
            The production has many jobs overall and ends up a special holiday treat well worth seeing and bound to strike a familiar and fond note.
            “Meet Me in St. Louis” runs through Dec. 28 at Ocean State Theatre Company, 1245 Jefferson Blvd., Warwick. Tickets are $39-$54. Call (401) 921-6800, or visit oceanstatetheatre.org. 

“Trip to Bountiful” at 2nd Story Theater

by Richard Pacheco

            “The Trip to Bountiful” currently at 2^nd Story Theatre is sheer delight with winning performances and deft direction. It turns into an uplifting story of the indomitable spirit and sheer determination of human will to triumph over all obstacles to their goal, a perfect touch for a holiday spirit.

It tells the tale of Carrie Watts, an elderly woman forced by circumstances to live with her henpecked son and shrill controlling daughter in law, Jessie May. Carrie has one dream, to return to Bountiful, where she grew up, a place full of fondness in her heart. Stuck in her small Houston apartment, she continually tries to escape that limited prison for the broader expanses of her memories rooted in Bountiful, much to the chagrin of her daughter-in-law. Her previous efforts to escape are always thwarted by her son and daughter-in-law’s arrival just as she is ready to escape by bus or train. She tries hard to escape to see her childhood home one more time before she dies. It means the world to her, a treasure she cannot miss any longer, nor avoid, in a sense, her destiny. She is frail but feisty and with a mind of her own no matter what.

            “The Trip to Bountiful” was written by Horton Foote. The play premiered March 1, 1953 on NBC-TV, before being produced on the Broadway stage. Its 1954 staging earned Jo Van Fleet a Tony Award for Best Featured Actress in a Play at the 8th Tony Awards. The role of Carrie Watts won Geraldine Page the Academy Award for Best Actress for the film adaptation and Cicely Tyson the Tony Award for Best Actress in a Play at the 67th Tony Awards for the 2013 Broadway production, which earned a total of 4 Tony Award nominations.

            Paula Faber is Carrie and the epitome of restraint and determination, dogged determination no matter what she encounters. She will return to Bountiful no matter what stands in her way. It is a quiet determination, an iron will that is usually under control and hidden beneath a savvy restraint. She evolves and grows on you, not just some crazy old lady who is willful and determined with no good reason. She has a purpose and knows what it is and will not relinquish it, ever. Faber is in control and delivers an admirable performance as Cassie, one full of nuance and fine emotional touches.

Nathaniel Lee is her son Ludie. He is totally henpecked and at his wife’s mercy as much as his mother and plays the role of peacemaker and diplomat between the two women with caution and concern. He worries about his mother’s health and recoils at his wife’s cloying, downright ill tempered and self centered disposition, particularly regarding his mother and her pension check. Lee delivers a fine performance, one with a sense of underlying suffering and patience to a fault.

Lara Hakeem is Jessie May whose idea of life is reading movie magazines and drinking cokes. She doesn’t work and lords it over Ludie’s mother like an empress. She rules the roost and knows it. She is only concerned about her wants and needs and non on else’s. She is controlling and offers a daunting presence which hovers over all like a dark cloud. Hakeem’s performance is right on the mark, a picture perfect portrayal of a demanding , self absorbed woman who is only concerned about her desires and needs and no one else.

There is some strong support here with the smaller roles which show up throughout the play.

Joe Henderson is the sheriff who catches up with Carrie and helps her complete her journey to Bountiful. Henderson is caring and sincere in the role humane and understanding of Carrie’s plight and his duties under the law. It is an excellent balance.

The3re is additional strong support coming from Jim Sullivan and John Connery as two bus station attendants. Erin Olsen is there to provide understanding and compassion as a fellow traveler, Thelma, whom Carrie befriends in her odyssey back home and does a wonderful job, sincere and convincing.

There is some find live music on hand provided by Eric Behr, who adds color and depth to the play with musical resonance.

Director Ed Shea keeps a keen eye to period detail here and the emotional substance of the play, providing a rich, vibrant experience. While the play itself does not refer to Christmas it evokes the kind of warm feelings associated with this time of year, through vivid performances and excellent sets.

The set by Trevor Elliot is evocative and fascinating. The earlier large panels of painted scenery are reminiscent of American Painter Edward Hopper, in their moodiness and element of melancholy which pervades them. The ones later in the show are more reminiscent of Andrew Wyeth, still with that element of sadness and sweet remembrance.

“The Trip to Bountiful” runs through Dec. 21 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for ages 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com.

“Barefoot in the Park” at Trinity Rep

by Richard Pacheco

“Barefoot in the Park” is a romantic comedy by Neil Simon. The play premiered on Broadway in 1963 and starred Robert Redford and Elizabeth Ashley. The play was made into a film in 1967, also starring Redford, and Jane Fonda and is currently playing at Trinity Rep in a splendid production full of energy, and vitality loaded with physical comedy and zippy dialogue brought vividly to life by a winning cast. This was Neil Simon's longest-running hit, and the tenth longest-running non-musical play in Broadway history. The play was nominated for three 1964 Tony Awards, and Mike Nichols won the award for Best Director.

Corie Bratter and Paul Bratter are newly wed. For their first home, they live in an apartment on the top floor (six flights up if you count the front stoop)of a Brownstone in New York City. The newlyweds face the realities of being married with surprise and at times dismay. They get to met some of the odd collection of neighbors, in particular one Victor Velasco, who fancies himself a ladies’ man and Romeo. Corey takes it in her head to introduce her mother, Mrs. Banks in the hopes that at least he will be a distraction for her, perhaps even a romantic interest. The newly weds head out to dinner with the older couple and everything goes crazy as the night transpires.

Charlie Thurston is Paul Bratter, a young attorney who I about ready to face his first case in court. He is also a  newlywed and very down to earth, feet on the ground, practical kind of guy his wife calls stuffy. Thurston is a marvel of comic timing in the role, with impeccable delivery and facial expressions He is also brilliant when it comes to physical comedy, recalling people like Dick Van Dyke, Charlie Chaplin and Jerry Lewis.  He is a sheer delight to watch in a comic gem of a performance.

Rebecca Gibel is Corie Bratter, the young wife, who is full of dreamy notions about marriage and feet off the ground in an airy attitude which is all centered on what she thinks and believes about the world and marriage. Gibel is a load of charm and energy, full of vitality and spunk. She is confident and self assured. She deftly captures the flightiness of Corie with skill and style.

Gibel and Thruston are a couple offstage as well.

Stephen Berenson is the apartment Romeo, Victor Velasco, who is full of dash and swagger, a smooth talker with an eye towards the ladies no matter what their age may be. Velasco is a gourmet cook and dime store Romeo who flirts with all the women, such as Corie and her mother with equal verve and dedication.  He just loves women and isn’t afraid to show it with a flourish and strut. Berenson is a delight, with comic aplomb in his timing and flair.  Velasco is inexpensive debonair in his capable hands and loaded with laughs.

Phyllis Kay is Corie’s mother, Mrs. Brooks, a widow who is beginning to feel the ravages of both being alone and getting older that way. She sleeps on a board or she cant sleep and her life it pretty much determined in terms of routine and her own rituals. Kay is wonderful in the role, with comic class and grace, full of the right nuances to make her character both endearing and very funny simultaneously.

There is solid support coming from the other two cast members as well, Uche Elueze as the telephone repairman and George Spelvin as the delivery guy. Both add some nice comic touches with zest and panache.

Director Michael Perlman keeps everything moving merrily along with a swift pace that is impressive and effective.

While the material seems a bit dated, the cast makes it all enjoyable. The long drawn out spat that leads to the brink of divorce seems like a tremendous abuse of time, but the actors make it all so much fun even it the material sags a bit due to its age and perspective.

The Daniel Zimmerman set design is a sheer gem, with moveable apartment walls that vividly create the outside of the brownstone and then glide open to reveal the insides of the apartment.

This is a must see production of comic finesse and excellence. There is so much here that is impeccable you’d be crazy to miss it. It is sheer fun and very well acted.

“Barefoot in the Park” at Trinity Rep ” runs through Dec. 21 at Trinity Rep, 201 Washington St., Providence. Tickets start at $46 Call (401) 351-4242, or visit trinityrep.com

“A Christmas Carol” at Trinity Rep 2014

by Richard Pacheco

            It’s that time of year again, the time to trot out those Christmas classics and show them off to best effect. Trinity Rep revives the classic Dickens tale this year from the adaptation by Trinity Founder Adrian Hall and Richard Cummings. It gets of to a shaky start with an awkward beginning scene it turns into rip roaring fun. Yes, there are some changes this year and they work well and is very satisfying and delightful.

            It masterfully evades sentimentality and sugary goodness while remaining poignant and moving where it should be. The familiar tale of the curmudgeon Scrooge, the epitome of skinflint transforms from Christmas hater to its most ardent devotee is a charming journey filled with many delights along the way that are sure to please.

          

  Fred Sullivan Jr. as Scrooge, the tireless businessman who finds value in the cash and not his fellow man is full of zest and energy. He is not brooding or dark as the earlier Scrooge, but instead is full of rambunctious  bluster, not at all a shriveled up mean spirited misanthrope. It’s a keenly delivered performance, full of humor and sizzling with energy. Scrooge is indeed a miser in his hands, but one full of presence and energy.
            Tom Gleadow is Jacob Marley, Scrooge’s now deceased partner.  He has some brief moments as Scrooge recalls the living partner and gives an indication of his business acumen and likewise stingy nature. When he appears as the ghost of Marley, wailing and howling, wearing chains and the grave trappings, he is ominous and may prove too frightening for younger children as the young girl near me begged her mother to leave which she eventually did.. It was very effective as he rises from Scrooge’s bed in the most eerie manner. Gleadow is right on the mark as Marley, delivering his ominous warning with purpose and determination. He is also effective as the ebullient Mr. Feziwig, Scrooge’s boss in his youth.

            Elise Hudson is the  Ghost of Christmas Past and she enters with flair and presence, as she descends from the ceiling in a white flowing gown that give the impression of airiness and flight. It is a spectacular entrance that leaves and impact and she is poised and patient as the spirit who leads Scrooge to his more pleasant past with fond memories such as the woman he almost married, Belle and the Feziwigs, Scrooge’s boss and his wife.

            Joe Wilson, Jr. makes an amazing entrance as the Ghost of Christmas Present, zooming in from above wearing tights, a handlebar moustache and top hat to hilarious effect. He bounds about with zip and zest as he speaks with Scrooge, full of merry energy and sheer fun. It is delightful.

            The Ghost of Christmas Future is a dark and ominous figure, looming and dark, with hands, rather massive threatening mitts which dangle to the floor, but is never really particularly terrifying or ever full of dark threatening prescience or menace. Ralph Adriel Johnson handles it with a brooding , nearly plodding movement that is dark, but not terrifying.

Anne Scurria does multiple duty here with the skill and finesse for which she has always been known as Mrs. Feziwig, Scrooge’s crusty and cranky charwoman is a pleasure.

Stephen Thorne is there as the hapless assistant to Scrooge, Bob Cratchitt. He is excellent as the frightened obedient employee whose concerns for his family and in particular his injured son, Tiny Tim keeps him in line at work for fear of losing his job.

Michael Jennings Mahoney is Scrooge’s nephew, Fred, son to Scrooge’s beloved dead sister and his only living family.  Fed continues to try to make contact with his uncle, reach him emotionally, but is always blocked by Scrooge’s indifference and mockery until his transformation by the ghosts’ visits. He is sincere and  convincing in the role, full of enthusiasm and conviction.

Henry Siravo who played Tiny Tim in the press opening was endearing and cute but did not show much enthusiasm in the scene where he blesses everyone. There are tow cast of children, the red cast and the green cast. The red cast performed on the press night.

For the purists, there are some elements missing or not emphasized here. There is no showing or mention of how Scrooge ruins his former boss in his descent to parsimony and self absorption. Scrooge’s break up with Belle lacks a romantic impact and power that it might have. But there are small things in an otherwise wonderful and entertaining version of the Christmas classic.

Director Taibi Magar keeps the pace moving merrily along, at times abbreviated, but always fun.

            The sets by Patrick Lynch and lean and streamlined, not heavy into detail and atmosphere, while they do indeed invoke the right mood and atmosphere they do so lightly and without a heavy hand.

            The Olivera Gajic costumes are rich and wonderful.

            “A Christmas Carol” runs through Dec. 31 at Trinity Rep, 201 Washington St., Providence. Tickets start at $31 for adults and $26 for children 2-14. Call (401) 351-4242, or visit trinityrep.com

“Hedda Gabler” at the Gamm

By Richard Pacheco

            “Hedda Gabler” currently at the Gamm Theatre adapted by artistic director Tony Estrella is simply riveting, rich in underlying emotional currents and devastating intensity, propelled by superb acting and deft directing.

            The classic Ibsen play tells the tale of Hedda Gabler, the daughter of an aristocratic general who finds herself trapped and bored in married life even though she is a newly wed. These are sharply drawn characters that are superbly acted and skillfully directed by Estrella. There is seething intensity here, underlying currents of deceit and disappointment that surge to the surface with dire consequences. All of which makes for compelling and relentless theatre. The characters are sharply drawn and very distinct.

            Marianna Bassham is Hedda, now Mrs. Tesman, ne Gabler, daughter of the imperious general.  Hedda is deeply troubled and incredibly bored by her life and in particular her husband.  She has a dark streak that runs deep and constant. She was a bit wild before  she got married and at times seems to long for that life again, as if her choice for prudence has becomes an overwhelming burden which drags her down daily, saps the life out of her. Her idea of fun and games is to fire a pistol at people, one not loaded with blanks. It is a riveting performance, rich in darkness, boredom and borderline madness.

            Joe Short is her somewhat naïve and often childlike husband George, who got his degree while studying on their honeymoon He is clueless and nearly painfully innocent and without a hint about life or his wife.  He has a childish enthusiasm, a really kind of golly gee effect which he struggles to keep in check. He is like a child who just met his favorite movie star or made the little league team in spite of it all. Short delivers a rich performance of a childish and childlike man who is unaware of so many things in particularly regarding his wife’s darker side.

            Alexander Platt is the tortured and fragile Eilert Lovborg, a brilliant writer who is tortured by relentless drinking and alcoholism which disintegrates his talent and his life reducing him to dire straits and failure personally and professionally. Yet Lovborg has manages to get on the wagon and stop drinking, get his life together again with the publication of a new book which is getting wide acclaim and interest. It is a tortured performance rich in inner battles and oozing a sense of fatal weakness and disaster.

Jim O’Brien is Judge Brock, longtime friend of the family who appears to be proper, but has his darker side as well. It is one of O’Brien’s best performances, rich and full of depth.

Marya Lowry is George’s doting aunt Juliana who holds her nephew in high regards despite his meager accomplishments. She is the epitome of the loving aunt, who adores her nephew and does not see his failings and flaws, only delights in his successes.

Karen Carpentier is Thea the sheriff’s wife and serves as Lovberg’s muse and helps him  with his research and his writing, takes care of him and adores him. IT is a sincere and touching performance, rich and deep.

Katie Travers is the maid, Berta, longtime employee of Aunt Julie and now, not too happily working for her nephew and his wife whom she is not too fond. She adds some fine comic touches to the role.

Tony Estrella directs with flair and finesse, evoking the best out of this superb cast. His adaptation is vivid and dense, full of depth and varied.

Scenic artist Cappie Cappizano delivers a set that is loaded with beams  cross beams, a house under construction and transparent, exposing it structural flaws and emotional holes. There are a couple of times when it interferes with the lighting.

This is an excellent production rich and varied with a strong and talented cast that is sure to please.

“Hedda Gabler” at the Gamm Theatre Oct.23 – Nov 30 172 Exchange St., Pawtucket. Tickets are $36-$45. Call (401) 723-4266, or visit gammtheatre.org.

“Tapped Out” at Image Theatre

by Richard Pacheco

            Image Theatre in Lowell continues its commitment to  new plays and local playwrights with its current production of “Tapped Out” by Massachusetts playwright Karla Sorensen with an evening that is full of solid acting and intriguing twists and turns.

            It is the 1980’s and Manny buys a bar in an old mill town fighting for a second chance and new life. The dilapidated bar is a dive with the same customers who cluster there, stuck in their same lives and struggling for a second chance or better life. Manny has taken some chances to start his bar and those hard choices may be crashing down back on him including his unconventional financing arrangements he made until he can get a VA loan.  Things are in jeopardy and Manny faces these trials and tribulations with the most fortitude he can muster, some new dreams and a new love.

            David Sullivan is Manny, a man with a past and some dark secrets, troubled by guilt over the death of friend years ago and the sad state of his current life mired in failure and frustration. Yet Manny is trying to dig his way out, buying a bar with the hopes of renovating it with the help of his former crush and new love, Janine. She has dreams like him is wiling to help propel him into his much denied success and borderline legal ways.  Sullivan is straightforward and direct as the former champion teenager boxer now struggling for dignity and success.

            Drew Shadrawy is Tucker, a drunken, boisterous coot who hangs around, and is a long time friend to Manny. He is on disability and walks with a limp and spends his time dreaming of the good ole days in the bar, resistant to any kind of change at all, determined to remain a fixture in an unchanging landscape of broken down bars and fond remembrances from the past, or even not so fond ones. He has a shady side, skirting the other side of the law with ease and frequency, but under it all loyal to his friend and his welfare, or what he thinks it his best welfare. Shadrawy is gruff and cranky, yet full of humor in the role, plunging right ahead to remain in the past. He is sincere and skillful in the performance.

            Jenney Dale Holland is Janine, one time neighborhood cutie who left for California and a better life but is back home to take care of business when her mother dies, she must deal with the estate and sell her mother’s house. She is attracted to Manny, claiming she always was and wants to forge a new life with him, including the future fate of the bar. She has secrets from her past as well, which might permeate her potential for a better future, one filled with success and joy. She is pert and perky in the role and handles the romantic scenes with Sullivan with flair and sincerity.

Director Jerry Bizantz handles it all with skill and finesse including making good use of the small space. The set design by him and Ann Garvin, Bill Walter and  Shadrawy works well and makes good use of space.

            “Tapped Out” at Image Theater, upstairs at the Old Court Pub, 29 Central street, Lowell, MA www.imagetheater.com or call 978-441-0102. Continues until Nov. 14.

“Eleemosynary” at 2nd Story Downstage

By Richard Pacheco

            “Eleemosynary” is a 1985 one act play by Lee Blessing (Best known for “A Walk in the Woods”. It follows the relationships between three generations of women at the Downstage Theatre for 2^nd Story and it sparkles with fine performances and vibrant energy, full of sass and fun as it investigates the relationships between a grandmother, mother and daughter, fraught with intricacies and peculiarities.. The word "eleemosynary" itself plays a significant part in the plot.

            The stage is nearly bare with ramps criss-crossing, some shelves and books, highly evocative along with some large wooden frames for wings a la Da Vinci’s flying machine. Words, not jus their spelling, but their definitions play an important part in this play. They interplay with the relationship between the three women, delving into its complexities and convolutions. The relationships between the three women are subtle and at times contrary and perverse. The grandmother, Dorothea, is a genuine eccentric, a woman disappointed by much of her life until she discovers she can be eccentric and it offers her a saving grace, but one with impact and consequences for her family. Her daughter Artemis (Artie) shirks from her mother’s strong personality and quirky ways. Her mother is dominating and overbearing and she flees from her influence, running away from home as a child multiple times. Artie’s daughter, Echo, is bright, talented and precocious with a love of words, instilled in her by her grandmother to the point of obsession from childhood on. Artie leaves her daughter in her mother’s care, feeling cut of by the bond between the two. As the play begins, Dorothea has suffered a stroke, and while Echo has reestablished contact with her mother, it is only through extended telephone conversations, during which real issues are skirted and their talk is mostly about the precocious Echo’s single-minded domination of a national spelling contest.

            Isabel O’Donnell is the eccentric and quirky Dorothea. Dorothea loves learning, loves, if not is downright obsessed about getting children to learn words, both meanings and spelling. Dorothea’s father dashed her dreams of attending college and pushed her into an unwanted marriage. Trapped in that, her mind turns increasingly flighty and cold towards her daughter. O’Donnell is a delight in the role, full of poise, prescience and oozing eccentricity with ease and finesse.

            Sharon Carpentier is Artemis, an intelligent woman nearly snuffed by her mother’s oppressiveness and overbearing manner. She latches on to scientific rationalism in self defense. Her mother squeezes her out of her daughter’s life piece by piece and she admits to emotional child abuse and moves to eight different cities to escape her mother and is always ready to move to another one. Carpentier handles the role of the resentful perpetually escaping Artie with skill and energy. It is difficult to evoke compassion for the character, but Carpenier does so ably and admirably.

            Valerie Westgate is Echo, the spelling genius who tires to get her mother and grandmother back on better terms and is willing to use her spelling abilities to entice them to the same place at the same time for her spelling bee. She also knows all about derivations and the earliest literary uses of all manner of arcane words. She is precocious to the border of irritating. Echo is bound and determined to somehow bring her grandmother and mother somehow together again no matter what. Westgate is charming in the role, managing to balance exuberance with a smart aleck arrogance that does not get to be overbearing.

            Director Mark Peckham keeps the pace rapid and on target. He deftly balances the wants and desires of the three women with a keen eye on pace and their unique relationships.

            Words play a key element in this play, words and their ability to alter and control life, to redefine relationships and interactions on so many levels. It offers some dazzling moments for Echo with her spelling and some terrific interplay between the women.

“Eleemosynary” (20 October - 23 November)

2ND STORY THEATRE

@ 28 Market Street, WARREN RI

1(401)247 4200

“Dial M for Murder” at Ocean State Theatre

by Richard Pacheco

            It is pleasant enough usually ably acted and evenly directed and if there are nay issues with it, it lies with the play itself and its flaws. The play was written by written by English playwright Frederick Knott, whose work often focused on women who innocently become the potential victims of sinister plots. The play premiered in 1952 on BBC television, before being performed on the stage in the same year in London's West End in June, and then New York's Broadway in October. It was later made into the 1954 American crime thriller film directed by Alfred Hitchcock

            The tale revolves around an ex professional tennis star Tony Wendice and his socialite wife, Margot. After a chaotic schedule that his wife bitterly complaints about,  and she begins an affair with an American television writer, Tony decides to retire from the tennis circuit.

            Drew Anthony Allen is the stuffy Brit, Tony Wendice who wants to do away with his wife to inherit her fortune.  Wendice is aloof with the nearly cliché stiff upper lip attitude of the British. At times however, Allen seems too aloof and above it all and without any passion or emotions at all. He appears separated from what is going on with his wife and the television writer, to aloof and distance to really care. He seems to be unable to muster any kind of rage to propel him to plot and murder his wife.

Aimee Doherty is his wife Margot, likewise stuffy and upper class British, a bit detached from her husband and reconnecting with him She struggles to deal with the British accent at times slipping and drifting out of it. There are times when she is not merely reserved but somewhat flat and without animation, too much stiff Brit

Rudy Sanda is Capt. Lesgate, Wendice’s long lost college buddy who gets blackmailed into committing murder for his old college chum. Capt. Lesgate is a sleazy man with a nefarious past full of dark secrets and criminal deeds, thought usually of the larcenous kind.

What gets to be the real treats here comes with Boston actor Bill Mootos as Max Halliday the television writer and Brandon Whitehead as Inspector Hubbard.

Mootos who was excellent in last season’s  “good People” at the Gamm shines here too. He is concerned and caring as the televisions writer who had a fling with the socialite.

A main saving grace to this production is the Inspector Hubbard, played by Brandon Whitehead.  Whitehead is a deft and smart combination of a kind of Colombo, and down to earth detective with the smarts and determination to solve the case, not matter what the odds. Whitehead is a delight as the disheveled somewhat gritty and gruff detective. He ably snags some Colombo touches to spark it all up which he does with  flair and sass.

Finally there is Jonathan Fisher as Thompson who is solid as the policeman.

Amiee Turner directs with a usually deft sense of pacing and mood and gets the best out of Mootos and Whitehead.

Katryne Hecht’s set is simply superb, at once elegant at times spooky and full of mood and atmosphere. David Sexton’s lighting design is brooding and mysterious, very effective and evocative.

The play itself has flaws and could have taken something from the writers of Colombo, yes I know it was first and their effective techniques. The set up in Act I takes far to long to come together. Both use the knowledge of the crime and the criminal from the beginning. Both use a clever detective to figure it all out and to prove it. The rest comes from the flatness of some of the performances, the utter lack of emotional nuance and presence.

            “Dial M for Murder” runs through Nov. 16 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Tickets are $34-$49. Call (401) 921-6800, or visit oceanstatetheatre.org.

“Enron” at 2nd Story Theater

by Richard Pacheco

            The season opened at 2^nd Story Upstairs is British playwright Lucy Prebble’s intriguing look ant the Enron debacle of greed, arrogance, deception and corruption. The play tackles complex financial dealings with coherence, intelligence and biting humor, it can be fiercely funny at times. The acting by the large cast is superb, sharp, intelligent and vigorous, the characters deftly etched, brought vividly to life with great skill and finesse.

            The Enron fiasco is well known, being the highly publicized and touted as an example of corporate greed. “Enron” premiered at the Chichester Festival Theatre (11 July – 29 August 2009), before London transfers to the Jerwood Downstairs at the Royal Court Theatre from 17 September to 7 November 2009 and then the Noël Coward Theatre. It premiered on Broadway at the Broadhurst Theatre on 8 April 2010 in previews, with the official opening on 27 April. It takes a close look at the smoke and mirrors financial practices that led to the corporation’s downfall and the tragic effects it had on so many ordinary lives duped into the false security of the company’s rise to prominence.

            This tale of greed and arrogance, highlights the true culprits of the fiasco, the men and women behind it all who are so caught up with their own arrogance and smug sense of their own intelligence that they plunge ahead with reckless abandon in the face of their own personal frailties and flaws which compound the issues with greater intensities and increasing impending disasters in scope and depth. Once dubbed “America’s Most Innovative Company" for six consecutive years it tumbled clumsily and speedily downwards to bankruptcy and disaster through its creatively nefarious accounting fraud. The list of major banks involved is simply appalling and astonishing.

But this is not dry financial explanations, this is smart, savvy and sassy theater loaded with fireworks and caustic one liners. It is full of clever theatrical touches through the use of lights and costumes which make it fascinating to watch and compelling theater.

Tom Roberts is Ken Lay, the founder of Enron and its CEO.  He is a man who plays politics with finesse and skill, who believes in his company and its ability to rise to the top no matter what. He is not really focused on the realities of business bur remains in his mentally cloistered world where all is perpetually well. Roberts is excellent in the role, adept at making Lay’s self absorbed clueless attitude highly believable.

Ed Shea is Jeff Skilling, President, CEO and COO of this behemoth financial disaster, steering it to its inevitable end. Skilling is ruthless, self absorbed, egotistical and overly self confident believing in his own flawless ability to come out on top no matter what, including some quirky and questionable financial bookkeeping tricks. Shea is brilliant in the role, the perfect mixture of arrogance and visible flaws. His Skilling is self-absorbed and self assured to the point of arrogance with no concern for anyone but himself and his status. It is brilliantly articulated with chilling detail and finesse, making this sleazy man ability to convince others of this intelligence and rightness in his actions.

Ara Bohigian is CFO Andy Fastow who devises the nefarious accounting scheme that brings Enron’s world tumbling down on itself. Fastow began establishing numerous limited liability special purpose entities (a common business practice in the energy sector); however, it also allowed Enron to transfer liability so that it would not appear in its accounts, allowing it to maintain a robust and generally increasing stock price and thus keeping its critical investment grade credit ratings. Bohigian is perfect in the role, bristling with enthusiasm for his  clever if devious plans in accounting. Yet, he handles the transitions well when Fastow begins to realize this house of cards is beginning to crumble with disastrous effects for all concerned.  Bohigian display an element of sincerity and regret when needed in a totally convincing performance that is also filled with occasional humor.

Tanya Anderson is the only female executive in the mix, Claudia Roe, (Rebecca Mark-Jusbasche) who ends up being one of the few who display any integrity and moral compass whatsoever in this morass of greed and self-centeredness. She is smart, savvy and knows how to play in a man’s world with daring and ruthless determination to match theirs. Yet she knows when to walk away as well, dignity intact before it all comes tumbling down on everyone’s head. Anderson is excellent as the smart, sexy and savvy Roe.  She adroitly conveys the sense of intelligence and conviction she has at every turn.

The rest of the large cast, from lawyers to traders to the Koch Brothers and reporters fleshes this all out with skill and exuberance, never missing a beat. There is plenty to delight in here and it contuse throughout the production.

Director Trevor Elliot keens the entire thing relentlessly on track, barely allowing us to catch our breath in the audience. The pacing is fast and furious and perfectly on pitch. The set and lighting design by him is perfect and totally imaginative fitting perfectly into the production enhancing it and adding so much to it like the projected words which abound not only on the screens behind but engulf the actors on the floor and surrounding them.

Costume designer Ron Cesario shines here too, devising intelligent and clever solutions like his raptor heads and costumes for the rampant debt. The costumes add so much to it all.

You won’t want to miss this intelligent and articulate play that swarms with taut, clever humor throughout as well. If it has any flaw at all it is that the characters are for most part underdeveloped, but it seems like a necessary step with the complexity of the underlying financial issues which it makes abundantly clear and understandable throughout.

"Enron" (Oct. 9 – Nov.2)

2ND STORY THEATRE

@ 28 Market Street, WARREN RI

1(401)247 4200

“My Fair Lady” at Ocean State Theatre

By Richard Pacheco

            “Ocean State Theatre's "My Fair Lady" is a winning and wonderful production propelled by some strong voices, snappy and sassy dance numbers and a wonderful set. True the musical runs about three hours but the terrific performances make it worthwhile.

The classic Lerner and Lowe show is set in London in 1912 with the timeless tale of Professor Henry Higgins, an irritable, cranky confirmed bachelor who takes on the task of converting street flower vendor Eliza Dolittle into a lady devoid of her Cockney manners and accent. The musical is inspired by the George Bernard Show play, “Pygmalion” from 1914. The book and lyrics by Alan Jay Lerner and music by Frederick Loewe it takes a classic rags to riches tale merrily along with some great songs brought to life by some stunning performances that are sure to delight.

Jessica Wagner as Eliza Doolittle, the Cockney flower girl who blossoms into a lady is pure delight. She shows a mastery of the Cockney accent which she incorporates with skill and finesse, flawlessly. Her transition into proper English is exquisite and perfection itself as is her transition from street wise vendor into elegant lady with grace and style. She is not only a fine actress but she has an impressive voice as well which she uses with daring and flair. She sings with great presence and bravura in songs like “Wouldn’t It be Loverly” and “Rain in Spain” as well as the ever classic “I Could Have Danced All Night.”

Her foil, the irascible Henry Higgins, is played with flair and perfect fussiness by Richard Costa. Even more impressive is the fact that he stepped in at the last moment for a member of the cast who dropped out.  It makes his performance even more telling and impressive. Costa is full of a certain assurance and almost pompous self confidence ast Higgins. He knows the answers and that is that. He shines with great skill and power in songs like “Why Can’t the English” and “I’m an Ordinary Man.”

Todd Berkich plays Col Pickering, Higgins cohort a man who is Higgins best friend and older than he actually is. He is convincing and shows a real flair as well as a wonderful tenor voice which he displays with great effect in the trio. “Rain in Spain,” and in “You Did It” at the success of Eliza and Higgins at the ball.

There are so many riches here in the performances like with Eliza’s ne’er do well father, Alfie played with skill and vitality by Peter Tedeschi. He also shows a strong singing voice in songs like "Little Bit of Luck" and "Get Me to the Church."

His two drunken cohorts in bad behavior, Daniel Larsen and Jonathan Olivera, are sheer fun.

Roger Reed as Freddy a spoiled young man with  a serious crush on Eliza which he displays in “On the Street Where You Live” in a musical fashion that is impressive.

This large cast is full of talented performers in all the roles and all deliver their best consistently and with great energy and finesse. The riches here are abundant and continual.

Director Aimee Turner evokes stunning performances from her talented cast. Her choreography is impressive and often sheer unabashed fun. She knows how to direct s musical with skill and flair and she displays it with this with confident strokes all the way through.  Her dances shine as in “Wouldn’t It be Loverly” and “With a Little Bit of Luck” or the chic and simple elegance of “Ascot Gavotte.”

Musical director Esther Gabinski who also directs the orchestra is superb as well with a flair for finesse and passion that is impressive.

Valerie Remillard-Myette as Mrs. Pearce shines as well with her roles as the sevant. Melanie Souza is a gem as Henry’s sarcastic mother.

The costumes by Brian Horton are simply stunning in every scene without a doubt. In the scene at Ascot racetrack his use of black and white in the costumes is spectacular and engaging, leaving a distinct visual impression that lingers in the mind’s eye, shimmers like an impressionist painting.

Clifton Chadick’s sets are eye catching and impressive. His study for Henry Higgins is a wonder, full of deft touches that are revealing and impressive such as the various talking machines scattered about, the globe and the animal skull over the door.

This production captures the elegance, flair and style with a freshness that is appealing and entrancing, keeping everything new and full of vitality.

"My Fair Lady" (24 September - 19 October)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-7100

“Grounded” at Gamm Theatre

by Richard Pacheco

            “Grounded” by George Brant opens the Gamm’s 30^th anniversary season, with a New England Premiere, sparked by superb acting and reverberating intensity. It was selected for the NNPN’s (National New Play Network) Rolling World Premiere program, which begat the Kansas City run, as well as last year’s productions in San Francisco and Tucson. It tells the tale of a hotshot female pilot who can fly with or drink with the best of them. This one person drama takes this hot shot fighter pilot from plowing through the blue of the skies to being grounded when an unexpected encounter leaves her pregnant, and grounded unable to be a fighter pilot.. After her daughter is born, she ends up in Las Vegas in a windowless room, now flying  drone on missions, not piloting a fighter. It produces mixed feelings in her, feelings of gratefulness that she can be with her husband and daughter on a daily basis out of harm’s way, and confusion and disoriented by the experience of seeking bad guys from an armchair, not flying a jet, but handling a joystick more like a gamer than a pilot. This juxtaposition leaves its own battle scars and personal impact on her.

            Liz Hayes is the ace pilot in the midst of major transition, not only in what she does and how she does it, but in the impact of being a cocky fighter pilot and having a daughter who likes pink ponies, not exactly what she had in mind, her daughter evolving into what she calls a “hair flipper.” Hayes is simply amazing in the role. She delivers a wide range of nuance and sincerity as she takes the pilot from boisterous days of  flying a jet and the camaraderie she finds there to her fractured existence as a drone pilot, enmeshed with in a confined space, both physically and mentally. It is a sheer delight, full of taut emotions and convincing shifts in mental attitude and health, transitions that are remarkable and revealing.

            The pilots spends her days obliterating the bad guys from her armchair with intense focus and an almost casual indifference.  There is an element of unreality in it for her. Then lines begin to blur between her desert war from a distance and her life in Las Vegas. Cracks begin to show as she follows from her drone a man know as “The prophet” who travels through the desert without ever leaving his car for a call of nature, or to get gas.

            Judith Swift directs with a keen eye and she knows how to keep things taut and compelling, keeping an eye toward the action even when the play itself falters a bit in that respect. She keeps it all on track, from character nuances to providing grounds for a propelling riveting performance by Hayes.

            The set and media by Sara Ossana can often be  fascinating with a broad screen behind with airy footage of catapulting through the clouds. At first some of the images are washed out, but then grow in clarity and conviction to make them an incredible enhancement, particularly with the grayed aerial footage of the drones when the done fires on the “bad guys” and they get blown to bits as seen from way high up, the eye in the sky.

            The play runs just over an hour with no intermission and a riveting, compelling and intriguing performance by Hayes. It is spellbinding, piercing drama. It lingers in the mind and heart as it broaches topics so common today in so many different ways.

           

“Grounded” at the Gamm Theatre until Sept. 28, 2014 172 Exchange St., Pawtucket. Tickets are $36-$45. Call (401) 723-4266, or visit gammtheatre.org.

“Broadway Bound” at Your Theatre

by Richard Pacheco

            Your Theatre opens its 68^th season with Neil Simon’s autobiographical “Broadway Bound,” the last of the “Eugene” trilogy, and the result is a funny, often touching production well acted, full of vitality and sincerity propelled by a strong cast. The play received four Tony Award nominations and received four nominations for the Drama Desk Award. It also was a 1987 finalist for the Pulitzer Prize for Drama. The play is about Eugene and his older brother, Stanley, dealing with their parents' relationship falling apart as the brothers work together toward being comedy writers for the radio, and, eventually, television. Drawn from Simon’s personal experience, the play has a definite resonance and vibrancy that is undeniable and highly appealing.

            Zane  Furtado, who in the previous two incarnations of the Simon trilogy, is once again Eugene after playing Stanley in “Brighton Beach Memoirs” and shifting to Eugene in “Biloxi Blues” carries on the character development in this play. It is a poised and polished performance full nice touches and nuance as Eugene confronts the combined struggles of trying to e a writer with his brother and his parent’s disintegrating marriage.

            Ian Vincent makes his debut with Your Theatre in the role as Stanley, Eugene’s older brother. It is an auspicious debut. Vincent has a terrific sense of comic timing. He is a bundle of energy, at once frantic and focused. He is a nerd crossed with the energizer bunny, all movement and  frenetic energy.

            Stephen Kay is Ben, the crusty often absent minded grandfather who is big on family, intelligent and stubborn. Ben loves his family but finds it difficult t tell them so and express his emotions. Kay, an experienced actor and director brings depth and nuance to the role. He is a wonderful mixture of cranky and forgetful, often falling asleep at inopportune times which he handles with skill and finesse.

            Tony Oliva is Jack, the father, who has changed considerably since “Brighton Beach Memoirs” Then, his family was his focus and he was determined to get the best for them no matter what. Now, that focus and determination is gone and he is deeply troubled, his marriage falling apart and him getting ready to leave them all behind. It is a vivid and convincing performance, very sincere and compelling.  He is not a villain, but a man in crisis at a lost to determine his direction with the inner chaos that envelopes and engulfs  him,

            Michelle Mastroianni is Jack’s wife, Kate. She is a woman who is strong and vibrant in the face of impending disaster, ready to do what it takes to take care of her family. It is a wonderful performance, rich and varied. Mastroianni has a masterful comic timing and the ability to shift into more emotional and deeper moments with style and poise.  She has an excellent Brooklyn accent that is convincing and alive.

Carol Oliva is sister in law, Blanche. She is frail and a widow, remarried to a wealthy man. She is aware of what she considers her own worthlessness and unimportance. Yet Oliva’s performance she is not reduced to a pathetic character, but someone who struggles to get out of the emotional ditch she dug for herself.

Director Larrence Houbre shows a keen eye for detail here and ably and deftly keeps it all on track, the humor taut and the emotional moments on target.

Mark Fuller’s set, basically a recreation of the “Brighton Beach Memoirs” set eh created is impeccable, full of intricate details and a sense of familiarity and hominess that is appealing and cozy,

            “Broadway Bound” at Your Theatre, 120 Rivet Street on the Corner of County,  New Bedford, MA www.yourtheatre.org or call508-993-0772. Sept. 18- 21, and 8 p.m. Thursday through Saturday. Matinee on Sept 21 2:30.

“Ivanov” at Trinity Rep

By Richard Pacheco

            “Ivanov” was Chekhov’s play first produced in 1877, commissioned as a comedy, but Chekhov delivered a four act drama with which he was unhappy. This translation by Trinity Artistic Director Curt Columbus, in this world premiere translation production, tackles it as a comedy and not your parent’s Chekhov at all, it is more like a combination of vaudeville and a wacky family reality television show. The play is not done much outside of Russia.

            The play tells the tale of Ivanov, who has gotten depressed and in a funk and struggles to recover his former joy and glory. His wife, Anna, a Jewess disinherited by her family when she convert to Christianity, has become very ill and his estate is run by a distant relative who is busy  advising people how he can help them make money.

Ivanov, Stephen Thorne,  is in a mounting funk about his life and not loving his ill wife any longer, both of which increase. Thorne is spirited and energetic in the role.

Anna is his wife, played by Rebecca Gibel. She is Ivanov's wife of 5 years who (unknowingly) suffers from Tuberculosis. She renounced her Jewish heritage and converted to Russian Orthodox in order to marry Ivanov. She struggles with her husband’s failing interest in her and his change from a positive outlook to a more gloomy and depressed one, which hangs over him like an ominous cloud of doom. Gibel is energetic and poised in the role managing to capture a certain fragility amidst here increasing sadness. It is a solid performance full of nice touches.

            Fred Sullivan Jr. is Count Shabelsky, a tile in need of money. He is Ivanov's maternal uncle, a geriatric buffoon full of bluster and bombast. Sullivan handles it with unbridled energy and zest often with over the top resules.

            Richard Williams is  Lvov, a pompous young doctor on the council's panel, and an honest man. Throughout the play, he moralizes and attacks Ivanov's character. He does not like him at all and dislikes the way he treats his sick wife William is the epitome of self-righteous in the role, full of self importance and self confidence, always ready to question anyone’s motives and the merest whim and inclination. Williams is on the mark in the role, never faltering.

            Sasha is played with charm and an almost naïve energy by Marina Shay. Sasha is the neighbor Lebedevs' 20-year-old daughter. She is infatuated with Ivanov, adores him like a determined puppy.

            Joe Wilson is Ivanov’s distant cousin and manger of the estate, a man with continual schemes to make more money, not just for himself, but for all around him. Wilson is frenetic, almost spastic in the role, which is often over the top nearly without subtlety.

            Angela Brasil is Marta, a rich relatively recent widow. She is attracted to the count and wants something more out of him. She is loaded with energy and zest in the role, if at times a bit overdone and exaggerated.

Anne Scurria is the shrill, overbearing Zinaida, mother of Sasha. She is also a lender and Ivanov is into here for quite of bit of money he cannot afford to pay back.

Timothy Crowe is Pasha, Marata’s husband and Chairman of the rural district council.  He is confidant and good friend to Ivanov. Crowe quivers at the merest sight of his wife who is totally domineering and overbearing. He is spineless and does here every bidding in total fear.

Stephen Berenson drifts in and out as a party guest obsessed with playing cards, as if it were his sole “raison d’etre.”  He is very funny as he darts about oozing excitement over each fresh game of cards he recalls for the others, much to their horror and boredom.

            There is some entertaining live music composed by Ian McNeely and broad bold strokes in the acting. The thing that bothered me is that the acting often seemed like harshly drawn caricatures rather than full characters, like some teen comedy gone awry.

            Director Brian McEleney keeps the pacing here rapid, full of comic touches throughout.  However the acting style seems a bit exaggerated, more farce than anything else, often lacking nuance and subtlety for the characters.  He keeps the ctors consistent though, but at times it  feels too much.

            The laughs are packed in all along the way, often back to back, but some of it seems strained and the transition to a darker ending seems a bit of a sudden shift, almost a surprise. A caveat, in the beginning, there is brief nudity as Ivanov gets out of the bathtub and goes offstage, I have to admit that this production with all its virtues leaves Stanislavski method behind in more frenetic (at times too much so) performances.

“Ivanov” Sept 4 until Oct. 5 at Trinity Rep, 201 Washington St., Providence. Tickets are $46-$71. Call (401) 351-4242,