“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,  

“Spamalot” at Theatre by the Sea

by Richard Pacheco

            If you despise politically correct as much as I do, and even if you don’t, you will love “Spamalot” at Theatre by the Sea. It is an vigorously energetic, spastic, irreverent romp that is bawdy and sheer delirious fun from beginning to end. It is a sheer delight, not to be missed. The performances are vivid, with impeccable comic timing punctuated by some strong and at times stunning singing. It is fall down funny with side splitting laughter all around. It is high camp in high gear without going overboard.

            It is adapted from the 1975 film Monty Python and the Holy Grail. Like the film, it is a highly irreverent parody of the Arthurian Legend, With the book and lyrics by Python member Eric Idle, the music is by Idle and John Du Perez.The original 2005 Broadway production, directed by Mike Nichols, won three Tony Awards, including the Tony Award for Best Musical of the 2004–2005 season and received 14 Tony Award nominations. During its initial run of over 1,500 performances it was seen by more than two million people and grossed over $175 million.

            This is all magnetically brought together by the talented directing and choreography of Billy Sprague Jr. He has nearly made a career of directing this show, doing in many times at various theaters.

            Al Bundonis is the hapless, clueless King Arthur, who blunders his way through everything and manages to succeed in spite of himself and in large part due to the assistance of his dedicated and diligent trusty sidekick, Patsy (Brad Bradley). Arthur strives to be regal cut just can’t pull it off, at one point struggle to find simple words to say something to Patsy, but cannot without his sidekick’s help. Bundonis is a delight with exquisite comics timing and strong voice.

            Haley Swindle is the Lady of the Lake, a smart, sassy, often impatient woman with a real fondness for Arthur, blundering or not.  She is an amazing singer and shows her stuff several times like with “The Diva’s Lament,” which she belts out with power and pizzazz. She also does a great impersonation of Cher at one point.

Brad Bradley as Patsy is a gem, with his coconuts to mimic horses’ hooves and non nonsense attitude I the face of danger and challenges that Arthur cannot do without. Bradley is excellent in the role.

Michael Andrako is Sir Galahad and shines when he teams up with Swindle in their duet “The Song That Goes Like This,” a wonderful parody of the sentimental Broadway ballad.

Sean Bell shines in multiple roles including Not Dead Fred and the effeminate Herbert. He sings “I’m Not Dead Yet” with flair, gusto and comic finesse.

Radio talk show host and former Mayor of Providence Buddy Cianci gets to be the voice of God

The rest of the large and abundant cast are top  notch, playful and skilled throughout.  Songs like “You Won’t succeed on Broadway is hilarious as it proposes you cannot have a successful Broadway show without Jews in it. “His Name is Lancelot,”  sung by Herbert and Lancelot, Jonathan Gregg is funny. There are too many gems here to list, but all in good fun and no target left unturned. With references to “Fiddler on the Roof” and “Man of La Mancha” he wit is raucous and unrelenting.
            There are many Monty Python gems peppered through the show like the Killer Rabbit and the Holy Hand Grenade of Antioch not to mention the knights who say NI and the Black Knight who is hacked to pieces but refuses to yield. Or the opening scene where villagers thought the narrator was referring to Finland not England, and launch into the “Fisch Schlapping Song” in Finnish costumes. All is fun galore. Or the off the wall and truly wacky conversation about how Patsy came up with coconuts in medieval England

            Bill Sprague Jr. direction and choreography are superb. The dancing is full of spunk and sassy, sheer fun on all occasions. His crisp direction keeps everything clever and robust. Numbers like “Always Look on the Bright Side of Life” are fun and sassy.

            Cassie Lent’s set design and sheer delight with all the hallmarks of Monty Python graphics for the television and the film, a hint of the Victorian and Pop art combined. Some of the standouts are the feet of God and the hand that pokes in from one side. The original costumes and wig design by Kurt Alger are right on the mark.

            It is a rollicking good time you don’t want to miss, fun and feisty.

            “Spamalot” runs through Sept. 7 at Theatre By The Sea, 364 Cards Pond Rd., Matunuck. Tickets are $42-$62. Call (401) 782-8587, or visit theatrebythesea.com.