“Always…Patsy Cline” at Ocean State Theatre

by Richard Pacheco

            Ocean State Theatre’s first ever summer show it “Always…Patsy Cline” a vibrant, energetic song filled, fun filled entertainment fest that celebrates the friendship between country star Patsy Cline and a down home Houston gal, Louise Seger. It was based on a true story of the six year friendship between the two women.

            Louise Seger called KIKK Houston radio throughout the day from home and her job to request Patsy Cline records. In early May (1961). she was speaking to deejay Hal Harris and she learned that Patsy would be playing the Esquire Ballroom. She spread the news and gathered together a group of friends, all dressed in western clothes, for the appearance at the gigantic barn- like club. They arrived very early. As it seems the band did not start playing until 8 pm and they were there around 6 or so. Louise looked up from here beer and who did she see—Patsy Cline. Seger was not sure it was her since the only time she had seen Cline was on the Arthur Godfrey show four years earlier.  Something clicked and she approached Cline.

            Seger told Cline how much she admired her music and so the friendship began. She invited Cline of join her friends and her at their table and she did. Seger insisted at the end of the night that Cline come home to her house rather than going back to the hotel and she did. Seger called the dj in the middle of the night and told him she was bringing Patsy Cline on the show for an interview in the morning. The dj thought she was drunk or crazy or both. The next morning both Seger and Cline showed up at the radio station for the interview much to the dj’s surprise. The two women started writing letters and calling each other over the next six years and so the budding friendship grew. They shared the tales of their lives and romances, their ups and downs. This show came from that.

            It is vivid and vibrant, full of sass and life, and ably captures the character of the two women, perhaps Seger more than Cline and their friendship. The two women in the cast bring it vibrantly to life. If at times it seems a nig light and not really going into any depth, you do not care and it does not matter, it is all sheer fun and totally enjoyable.

This version was directed and staged by Aimee Turner who does an excellent job keeping it all rolling merrily along with great touches of humor and wonderful singing. Aimee Turner handles the direction with confidence and assurance. She keeps everything moving with flair and zest.

Music director John C. Brown keeps everything full of energy and deftly moving along with the Bodacious Bobcats Band, some fine musicians and the music director and he gets the best out of Erin McCraken as Patsy Cline and the occasionally singing by Lulu Loyd as Louise Seger, who only rarely sings.

            Erin McCracken is the singing legend Patsy Cline. She is an excellent singer and delivers the goods musically with skill and passion. She handles the better known Cline songs with assurance and dexterity and the lesser know ones with equal adroitness and style. She  shines in songs like “Crazy” where she displays a longing that is haunting and reverberates.  With  “I Fall to Pieces” she is just is riveting and haunting.

            Lulu Loyd is sheer delight as the feisty obsessed fan Louise Seger. She is cocky and funny, full of energy and conviction as she pursues her music idol with single minded determination and conviction. She is spirited and bouncy in the role, never lagging, never faltering in her sparkling presence and honesty in her portrayal. It is a delight to watch, never faltering, never dull.

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The show was originally created and directed by Ted Swindley and if it has a falw it is you never get to know much beyond the surface about the characters, it seems to pull back when it moves in to emotional heights or depths.

Even if you are not a big Patsy Cline fan, this is a delightful show to see, full of great music and pure fun, from beginning to end.

            At Ocean State Theatre " (4 - 22 June)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

“Freud’s Last Session” at 2nd Story Theatre

by Richard Pacheco

            The summer season for 2^nd Story Theatre opens with the provocative battle of minds in Mark St. Germain’s :Freud’s Last” session about he meeting between avowed atheist Sigmund Freud and determined and devout Anglican C.S. Lewis. The performances by Ed Shea and Wayne Kneeland shimmer with wonderful and brilliant touches which show the wit and intelligence of the two men, brought vividly to life by the two actors.

            “Freud’s Last Session” was named Best Play of 2011 by the Off Broadway Alliance. It had its world premiere at the Barrington Stage Company in Pittsfield, MA. It closed after  8 previews and 775 performances in New York on the second anniversary of its world premiere. Mark St. Germain has written a great many plays such as “Camping With Henry And Tom” (Outer Critics Circle and Lucille Lortel Awards) “Out of Gas On Lover’s Leap, Forgiving Typhoid Mary” (Time Magazine’s “Year’s Ten Best”), “Ears On A Beatle” plus many others and also written for television His television credits include “The Cosby Show” (Writer/Creative Consultant), “Crime and Punishment” and “The Wright Verdicts.” He co-wrote the screenplay for Carroll Ballard’s “Duma”. He was also a script writer on the CBS Daytime serial “As The World Turns”.

            It is set in 1939 with Hitler on the rise in the world scene,  lusting after Poland and beyond. England is on the brink of war. This is the backdrop of the invented ideological clash between the father of psychoanalysis and committed atheist, Sigmund Freud and devout Anglican C.S. Lewis. It does not shy away from challenging topics like God, war, suffering and sex.

            “I want to learn why a man of your intellect, one who shared my convictions, could suddenly abandon truth and embrace an insidious lie” like religion, Freud, an adamant atheist, says soon after meeting Lewis. The devout Lewis launches into his views with energy and enthusiasm. This back-and-forth continues throughout the play’s 75 minutes as the two assert theories, concede points and tell jokes. It’s a sharp, lively discourse, and audience members searching for engaging debate will be pleased. As anyone who has ever engaged in such discussion, particularly about God, it ends in a stalemate.

            The script is intelligent and the laughs plentiful as these two engage and battle. If it ends up more and sharp riveting discussion rather than drama you don’t mind because the quality of the discussion is top notch.

Ed Shea is Freud, the father of psychoanalysis, a determined atheist who is facing his own eminent death with wit in the face of often great pain with cancer of the jaw. He is very attached to his daughter Anna, in fact will only let her administer treatments to him. Freud is perplexed why Lewis would abandon his atheism in favor of the “lie” of religion. Shea is a wonder and delight in the role, full of poise and presence. It is a vivid performance, full of excellent touches throughout, brought vivaciously to life.

Wayne Kneeland is C.S. Lewis,  the religious and committed Anglican. Lewis argues back that the ancient presence of societal codes suggests a moral conscience that is a product of God. He challenges the sterile righteousness of science and contends that passion and joy testify to God’s existence. Kneeland’s Lewis is articulate, intelligent and dedicated to his religion. Kneeland delivers an engaging and poised performance, that is rich and stimulating.

Director Pat Hagnauer keeps it all meticulously on track full of energy and enthusiasm, deftly directed.

The Karl Pellitier set design of Freud’s study if lavish and rich with its abundant wall of books, desk and old fashioned radio.  It is a visual delight.

While it may not end up being raw drama it is without a doubt rich and intricate and animated discussion which are loaded with humor and wit throughout.

"Freud’s Last Session" (8 June -  3 August)

2ND STORY THEATRE

@ 28 Market Street, WARREN RI

1(401)847-4242

“Sandy Hackett's The Rat Pack Show” at Theatre by the Sea

by Richard Pacheco

            Theatre by the Sea’s 81^st season opens with the fun and nostalgic Sandy Hackett’s The Rat Pack Show, a recreation and evocation of that famed band of merry entertainers, Frank Sinatra, Joey Bishop, Dean Martin and Sammy Davis Jr. It is sheer fun sassy and smart, filled with great singing and often raunchy comedy, a fun filled make you laugh and smile show that is pure delight to watch and moves along at a swift pace, packing laughs and music side by side with flair and inimitable style. It captures the camaraderie and self assurance, if not downright cockiness of the original members of the legendary group. Put together by Sandy Hackett, son of legendary comedian Buddy Hackett, it has a ring of authenticity that is sure to please in the mist of so many Rat Pack shows out there.

            This critically acclaimed show has been all over. It opens with the voice of Buddy Hackett as the voice of God setting the stage for the return of the Rat Pack. Sandy Hackett comes out as Joey Bishop. Hackett was hand picked by Bishop for the role and did so with his blessing.  Sandy Hackett is indeed very funny. He captures the mannerisms and humor of Bishop with skill and honesty. His sense of comic timing is impeccable and he knows how to make the most of a funny lie, pack in the most laughs possible. For example he mentions women at the gates to heave and some of them getting their virgin plaque. He leans over to a woman in the first row and says, “So you didn’t get yours?” He knows how to make the most out of double entendres and lines at the border on the sleazy without tripping over the border evoking tons of laughter along the way.

            Then out comes Tom Walleck as Dean Martin. When he sings, “That’s Amore” it is easy to visualize Dean Martin up there on stage. He aptly captures the Martin slurred speech and  laid back style with assurance and conviction. He does the same with “Volare” full of enthusiasm and relaxed charm.

            Next is Louie Velez as Sammy Davis Jr. Velez has his mannerisms and voice down pat. It is very impressive.  He excels in “Will I Still Be Me? (Mr. Bojangles”. The same is true with “Sam’s Song” He has the mannerisms and style of Davis down cold, right on target with zest and assurance.

            Finally out comes Danny Grewen as the inimitable Frank Sinatra, Chairman of the Board himself. Grewen is right on the mark as Sinatra, aptly mimicking his mannerisms and singing voice with flair and finesse. He shines with songs like “My Kind of Town” and that classic Sinatra anthem, “My Way.” He captures the style, class and swagger of Sinatra and his voice with impeccable style and sincerity. He does the same with “Luck be A Lady” When he sings “A Foggy Day in London Town” the antics of Hackett behind him are hilarious.

Some of the other many gems here are “New York, New York,” “Me and My Shadow” and “Birth of the Blues.” If you love this kind of music, you will love this show. It is classic and brimming over with style and elegance no matter where you turn or when, no matter who holds center stage.

Directed by Billy Karl this is a fun filled romp into nostalgia, full of energy and lacking sentimentality. It tells it like it was or how we remember it. Music director Chris Hardin coxes the best from his performers, getting them to deftly, skillfully recreate the signing voices of this legendary crew.

Conductor Theodis Rodgers and the three piece orchestra is top notch, talented musicians who are dexterously able to artfully merge with the singers with grace and zest.

The lighting design by Joseph Glodek is effective and impressive. Art director Jeanne Quinn’s set is chic and sophisticated while remaining very simple.

There are so many gems here it simply oozes that kind of swagger and confidence that the original Rat Pack displayed in their performing, echoing the onstage respect and affection of the originals. There is genuine camaraderie here that is impossible to miss and delightful to behold. These guys work well together and the musicians backing them up are terrific.

It continues  until June 22.

Theatre By The Sea

364 Card Pond Road, Matunuck, RI

(401) 782-8587

“A Lie of the Mind’ At Trinity Rep

by Richard Pacheco

            Trinity Rep’s current production of Sam Shepard’s 1985 “A Lie of the Mind” is a rich, vibrant effort which presents a family meltdown in vibrant detail thanks to the fine acting and directing. It shimmers with detail and depth, full of hilarity and immensely disturbing moments. Although one of the characters suffers from brain damage, the others do not seem far behind in their level of mental disturbance and disruption. Some critics consider it the finale of the quintet of plays which includes Shepard's Family Trilogy: “Curse of the Starving Class” (1976), “Buried Child” (1979), and “True West”(1980), plus “Fool for Love” (1983).

            Directed by Brian Mertes, the eight member cast is always on target, full of nuances and vivid portrayals. Set in the gritty American West, the story alternates between two families after a severe incident of spousal abuse leaves all their lives altered until the final collision at an isolated cabin. Shepard is here excavating the profound ambivalence of kinship. Home is where they have to take you in; it is also where they can suck any sense of autonomous self right out of you. While “Buried Child” is more Gothic, this play creeps up on you with under the guise of homey trappings.

            It all revolves around husband and wife Jake (Benjamin Grills) and Beth (Britt Faulkner). Jake has beaten Beth so badly that he thinks she is dead. She is not dead but seriously injured. Both retreat to their respective families. For Jake it means returning to his widowed mother Lorraine (Janice Duclos), his brother Frankie (Charlie Thurston) and his sister Sally (Rebecca Gibel) in California. For Beth is means return home in rural Montana, to her mother Meg (Anne Scurria), her father Baylor (Timothy Crowe) and her brother Mike (Billy Finn), who is determined to avenge his sister.

            Benjamin Grills is wonderful as Jake, a man beset by guilt and self doubt after battering his wife severely, convinced that she is dead, refusing to hear anything to the contrary.  He vacillates between the manic and with withdrawn, in often equal doses. He is tormented and struggling for personal liberation in light of his actions. Grills deftly captures those twisting, turning shifts in personality with daring and conviction. It is a powerful performance.

            Britt Faulkner is Beth, at once dazed and confused by her beating, her mind wanders, vacillates back and forth between reality and her own very personal world. She struggles with words, trying to say exactly what she means and battles heartily against the damage done to her mind by the beating. She is confused, often mixing what happened with what is happening to her. Faulkner is excellent in the role, full of finesse as she aptly shows the confusion and terror Beth experiences. She shows the struggle with conviction and energy, delivering a vivid and vibrant performance.

            Charlie Thurston is Frankie, a man disturbed by his brother’s violence, doubting that his sister-in-law is really dead, determined to find out the truth no matter what, no matter the resistance he encounters from his brother who wants to leave things alone a eh confronts his guilt. Thurston is sincere and colorful in the role. He delivers a passionate and honest performance that is often riveting.

            Billy Finn is Mike, Beth’s brother with a relentless desire to seek justice for his severely injured sister. His sense of justice overwhelms any common sense he might have ever had and propels him into a dark world of obsession and dark desire for revenge, not justice. Finn is gripping in the role, full of admirable touches along with way, always on target and passionate, always convincing.

            Timothy Crowe is Baylor, a gruff, outspoken man who hunts deer even though he dislikes venison. He has little room for either tolerance or acceptance and is very demanding, if not mean spirited. He treats everyone as though they are beneath him and he has little patience with them or their antics. Crowe is remarkable as Baylor, full of feisty bluntness and merciless to a fault. It is an imposing performance.

            Anne Scurria is Meg, mother to Beth and Mike, wife to Baylor. She is a bit a loss with life, not really present most of the time but with occasional glimpses into what is going on around her. She is dismayed by what has happened to her daughter and her family and struggles to make things as right as she can. The odds are against her. Scurria is convincing and candid in the role. It is a vivid and earnest performance, full of energy and conviction.

            Janice Duclos is Lorraine, a widow, who came to despise her late husband, who lives more in her idea of the family than the actual family. She is fiercely loyal to her children, particularly her son Jake. She coddles him and obsesses over him wants to keep him a prisoner in her home to protect him. Duclos is spellbinding in the role, a taut and haunting portrayal that is vigorous and unyielding.

            Rebecca Gibel is Sally, Jake and Frankie’s sister. She is at a loss for what has happened to her family, yet not surprised because of what happened to her when she took a trip with brother Jake down to Mexico. She is at odds with her feelings, both for and against her brother.  The conflict is continual and painful for her. Gibel delivers a frank and vibrant performance throughout.

            The music written and performed by Phillip Roebuck is fresh and lyrical, a nice additional touch to the production.

            Director Brian Mertes keeps a keen ear on Shepard’s dialogue and keeps his actors on track with some imaginative nd effective staging. 

            The Eugene Lee set is sparse and haunting. The back wall is loaded with a wall of fans and a single door. The rest is open with wide opens spaces. Then the furniture in lies in front for both cabins, along with a tub embedded into the floor with water. It creates a powerful image.

The result of all this is gripping and relentless theater, with a chest full of memories and personal myths, at once relentless and unforgiving, yet still somehow achieving a kind of strange peace.

It continues until June 29 at the Dowling Theater. Call 401-351-4242 or online at online at: http://www.trinityrep.com