‘Buyer and Cellar” at 2nd Story Theatre

By Richard Pacheco    

            2^nd Story Theatre is busy with renovations with its downstairs theater so performances there are minimal except for the wonderful Jonathan Tollins play, “Buyer and Cellar” sparked by a brilliant performance, sheer virtuoso skill and talent by Kevin Broccoli. The play is offbeat and imaginative and very, very funny. It is a real gem with non stop laughs.

            The Tollins play came about from Harvard educated playwright’s two fortuitous events. Barbara Streisand showed up at a production of one of his plays and offered him a bite of her KitKat bar. The other was when Tollins’ husband borrowed  a copy of Streisand coffee table book, “My Passion for Design” from the local library. There were photos in it from the celebrity’s mall beneath her Malibu house. It sparked this funny play about an actor fired from Disneyland  who ends up getting a job working for Barbara Streisand’s mall under her home.

            Broccoli’s Alex Moore adores her and is thrilled to death when she randomly shows up in her basement to peruse her stores. Most of the time, he is left alone with the popcorn machine awaiting her next visitation as he daydreams about whether or not they are friends or does she even like him.

            It’s a fun ride due to the snappy writing and Broccoli’s impeccable performance, so acutely timed and refined. He is deliriously funny.

            True it is far fetched, but truly funny with Broccoli as the hapless actor who ends up working for a star he admires in her faux stores in her below ground private mall where she is the only customer. The hilarious moments are many with Broccoli deftly playing Streisand answering him back as when they bicker and negotiate about how much to pay for a French doll hanging up in one of the stores. What ensues and its developments are truly funny.

            I cannot say enough about Broccoli’s performance. His timing is perfect as he dazzlingly veers back and forth between an overtly gay snarkiness delivered with smart, intelligent finesse that keeps you roaring.

            Lara Hakeem makes her directorial debut with this laugh filled delight. It is indeed an auspicious debut.

            The set production design by Max Ponticelli is more implied than defined.  There are only a couple of chairs and a screen where images of Ms. Streisand and other flash as needed.

            While the plot sounds goofy and far fetched, the citing her will enchant and amuse you. Don’t miss it. It is sheer theatrical delight.

            "Buyer and Cellar" runs through Oct. 25 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $20 for those under 21. Call (401) 247-4200, or visit 2ndstorytheatre.com.

“The Little Mermaid” at Theatre by the Sea

By Richard Pacheco

            “The Little Mermaid,” the Disney classic film turned into a musical at Theatre by the Sea is perfect family fare, well acted, and well sung with bright costumes and flashy dancing. In short it is sheer fun for all ages. It is utterly charming and delightful for all.

            The show comes from the Disney movie which comes from the Hans Christian Anderson fairy tale abut a mermaid who is willing to sacrifice her life in the sea and mermaid identity to  gain a human soul and love a human prince.

Ariel ventures to the surface when she turns 15. She witnesses a great storm and sees a handsome young prince on board and rescues him from drowning, taking him to shore. When he awakens she is gone and he doe not realize it was she who saved him. In an effort to become human she goes to visit the sea witch, her aunt, willing to sacrifice her lovely voice in order to become human and thereby win the heart of the prince. Is she fails to get him to kiss her within three days she will be forever doomed to serve the Sea Witch and never view humans or the prince again.

Adrienne Eller is Ariel, the mermaid with the longing to be human. She is pert and perky, with a girlish charm and special voice. She is enchaining in the role, the embodiment of the little mermaid. Her voice is angelic and yet strong. She ably displays her talents in “The World Above” and “Part of Your World” as well as the other songs she sings Like “Ariel’s Lament.”

Austin Colby is the handsome prince who would rather be a sailor that inherit his father’s throne and rule his kingdom. He is a mixture of boyish yet complex with a solid voice and impressive stage presence. He is a great foil for Eller and the two work well together with charm and vitality. He is excellent in “Her Voice” and “One Step Closer.”

Andrew Holder is Ariel’s friend Flounder. He adores Ariel and follows her pile a puppy. He shows his singing voice off well in his song with the mersisters, “She’s in Love.”

Zachary Berger is the seagull the irrepressible Scuttle. Scuttle is a madcap mixture of confidence and malapropisms, misstating all kinds of things with unbridled enthusiasm. He is hilarious with the seagulls who all tap dance their way with finesse and confidence through “Positooovity.”

Of course there is the charming and winning crab, Sebastian, anointed guardian for Ariel and yet she always manages to outwit him to pursue her goals. He speaks with a Jamaican accent and is flamboyant and sun.  Nkrumah Gatling brings him to life with terrific comic timing and a strong singing voice. He really shines in a vigorous and fun version of “Under the Sea” with the sea creatures.

The wicked Sea Witch, Ursula is King Triton’s sister and a dark force to be reckoned with using her cohorts the darkly evil eels, Flotsam and Jetsam. She has a killer voice, full of raw power and variance. When she sings “Poor Unfortunate Soul” she explodes with energy and scathing sarcasm. Her trio with Flotsam (Robert Conte) and Jetsam (Daniel Hurst), “Daddy’s Little Girl” is also excellent.

King Triton is all bluster and pomp, demanding his daughters, and everyone else obey him without hesitation or question. Yet he does indeed love his daughter, in particular the youngest, Ariel. He shows this at last at the end.  Joseph Torello is King Triton and handles the role ably, but is in fact the weakest singing voice onstage.

One of the most impressive part of this endearing show is the complex and  rich quarter, “If Only” which carries the finesse of Verdi sung by Ariel, Prince Eric, Sebastian and King Triton.

            The musical is attractive with great songs from the Alan Menken music the Howard Ashman Glenn Slater lyrics and the book by Doug Wright. It is both warm and fun.

            Director and choreographer Billy Sprague Jr. keeps everything lively and appealing from first to last. His dance numbers have sass and class, a delight to behold. His number with the tap dancing seagulls is funny and fun to watch, robust and endearing.

            Musical director Esther  Zabinski who also conducts the orchestra is right on the mark and conducts the orchestra with verve and feeling.

            The set by Nate Bertone is simple, basic and effective. It successfully evokes and underwater world with simple yet impressive touches, creating undersea caves and dark areas for the denizens of the deep to prowl. His suggestive sets for out of the water worked well too.

            The costumes, the original costume and wig design by Kurt Alger were fanciful and energetic.

            If you loved the 1989 Disney movie, you will love this show which faithfully follows the movie. You won’t want to miss it!

           

            "Disney's The Little Mermaid" runs through Aug. 15 at Theatre By The Sea, 364 Cards Pond Rd., Matunuck. Tickets are $45-$65. Call (401) 782-8587, or visit theatrebythesea.com.

“I Hate Hamlet” at 2nd Story Theatre

By Richard Pacheco

            Paul Rudnik’s comedy “I Hate Hamlet” currently at 2^nd Story Theatre is an absolute joy, packed with laughs from beginning to end, sure to please, a real treat. The plot circles about a television actor who moves into legendary actor John Barrymore’s NYC apartment after his show has been cancelled. It seems he has been hire, thanks to the efforts of his agent to do Shakespeare in the park as Hamlet in the play. Add to this his girlfriend who at 29 is a steadfast virgin, sworn to celibacy until she is married even thought she declines his efforts to marry her and you have an idea about what he is facing. Not only that, but his erratic agent who once had an affair with Barrymore, a ditzy real estate woman and of course, the ghost of John Barrymore himself who finagles his way into the works.

            Tom Bentley is Andrew Rally the television star who is now faced with playing Hamlet. He is uncertain as far as his acting talent, particularly when faced with such a daunting task as acting in such a legendary role. He is torn between the money offered in television and the prestige offered from the stage in NYC. His only issue is that he hates Hamlet and Shakespeare in general. Bentley is able and determined in the role.

            There is the ghost of john Barrymore played by John Michael Richardson, the epitome of the that suave, legendary actor, a drunk, bon vivant and womanizer to the endth degree without reservation of regret. Richardson is simply superb in the role.  He is a jot to watch, pure delight as he deftly dances though his antics with style and verve, utterly funny, totally convincing.

Then there is the wacky and somewhat curious real estate agent, Felicia Dantine, played by Isabel O’Donnell. Felicia found her inner self by communicating with her dead mother through a course she took and sweats by and insists that Andrew try to do the same with the ghost of Barrymore despite his protests.

Of course Andrew’s girlfriend, Deidre, is no help in all of this. She is 29 and still a virgin and determined to stay that way despite Rally’s frustration and efforts to convince her that sex is fun. Rein Elliot handles the role with a charm and style that is appealing and fresh, a delight to watch.

Andrew’s Hollywood friend and producer, Gary Peter Lefkowitz has no clue about theater and is in fact disdainful of it, instead promulgates the virtues of television and Hollywood with wild abandon and ruthless determination. He has put together a pilot for Andy with a $3 million paycheck, if only he will give up on the Shakespeare and theater ideals. He warns Andy in his own peculiar way if he doesn’t watch out he will end up in basements doing Chekhov, then clearing chairs away for the incoming AA meeting. Charles Lafond is the energetic, effeminate Lefkowitz and he handles the role with verve and sass without flinching and without hesitation. He is a sheer delight of hilarity.

Of cures there is Andrew’s agent the irrepressible Lillian Tory, who once had a sexual encounter with the legendary Barrymore. Paula Faber handles the role with finesse and a sense of comic timing that is expert.

Together they provide a delightful summer’s evening worth of theater, nothing deep, but loaded with sheer fun along the way without a doubt.

Director Mark Peckham keeps it all relentlessly on track and the laughs piled on one after another. The sset by Trevor Elliot is a delight with a great window view into NYC from behind to terrific stairs, etc. in front.

If you are looking for some easy going summer laughs, this is the place to be without a doubt.

            "I Hate Hamlet" runs through Aug. 30 in repertory with Charles Busch's "Die, Mommie, Die. Tickets are $25 and $20 for those under 21. Call (401) 247-4200, or visit 2ndstorytheatre.com.

“Venus in Fur” at 2nd Story Theatre

By Richard Pacheco

            “Venus in Fur” is a two-person play by David Ives set in modern New York City. The play had its premiere off-Broadway at the Classic Stage Company in 2010 and on Broadway in 2011. The current production at 2^nd Story sparkles with sheer brilliance, raw energy and is packed with laughter as well as being provocative.

            Thomas Novachek is the writer-director of a new play opening in New York City; this play-within-the-play is an adaptation of the 1870 novel “Venus in Furs “by the Austrian author Leopold von Sacher-Masoch and happens to be the novel that inspired the term Masochism. The play begins with Novachek on the telephone lamenting the inadequacies of the actresses who have showed up that day to audition for the lead character, Wanda von Dunayev. Suddenly, at the last minute, a new actress, Vanda Jordan, bursts in. Novachek is on the telephone lamenting the inadequacies of the actresses who have showed up that day to audition for the lead character,

            Vanda Jordan, bursts in. and she is brash, vulgar and unschooled, but she convinces him to let her audition for the part of Wanda. The playwright will read the part of Severin von Kushemski. They both become caught up in the characters they are reading, often interchanging art and reality with unexpected consequences.

            Richard Derry is Novachek, the playwright frustrated by the actresses who have thus far auditioned for him. He is frustrated by his efforts to audition a leading lady for the play, with no one seeming to measure up to his artistic needs. As he reads the part of Severin von Kushemski je becomes swept up in the play, at times merging his character with that of the character in the play. Derry is wonderful in the role, sheer brilliance as he deftly shifts back and forth between playwrights and character.

            Lara Hakeem is the actress, Vanda, who arrives late for the audition. She is brash, vulgar and obnoxious, but also very sexy, sensual and provocative. She is outspoken and daring as a person and as an actress, very nervy and bold. She moves in and out of the role she is auditioning for and the actress at the audition with skill and finesse. She is audacious and inventive, full of energy and sassy. She alternates between the audacious actress and the sexy character with finesse, effortlessly being either seductive or brash ass needed. It is an impeccable performance.

            The chemistry between the two is impressive at once vibrant and touching, inventive and provocative.

            Ed Shea directs with zest and intelligence. He knows how to evoke the best from these two actors and does so consistently and robustly.

            The set and lighting design by Max Ponticelli is right on target evoking the bare auditions space with the overhead skylights with skill and vision.

            The costumes by Ron Cesario are perfect from her provocative dominatrix outfit to the coats he wears as the character in the play.

This is a do not miss production, one loaded with terrific acting and an intriguing play that is inventive and provocative.

“Venus in Fur" runs through June 28 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for those 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com. 

“Gypsy” at Ocean State Theatre

By Richard Pacheco

            Gypsy” currently at Ocean State Theatre is an energetic, spirited splendid production which features the talents of Artistic Director Aimee Turner as Rose, the ultimate show business mother and Gypsy’s mom. It’s a 1959 musical with music by Jule Styne, lyrics by Stephen Sondheim, and a book by Arthur Laurents. Gypsy is loosely based on the 1957 memoirs of Gypsy Rose Lee, the famous striptease artist, and focuses on her mother, Rose, whose name has become synonymous with "the ultimate show business mother." It follows the dreams and efforts of Rose to raise two daughters to perform onstage and casts an affectionate eye on the hardships of show business life. The character of Louise is based on Lee, and the character of June is based on Lee's sister, the actress June Havoc.

            While the musical is showing its age, the acting and singing make it fun anyway.

            Aimee Turner, artistic director of Ocean State is stage mother Rose. Rose is obsessed in making her daughter June a star and later her daughter Louise. She will connive,  cajole, do whatever it takes to convince someone to hire her girls and advance their careers. She is bossy, like a bull in a china shop, determined and relentless. And if she seems to care too much about her goals for her daughters perhaps there is more than just a slight twinge that it is derived her disappointments about her own life and not being able to pursue such dreams. Turner is excellent in the role, a virtual human hurricane as she tramps through offices in search of more for her girls with unbridled energy and ruthless resolve. She is excellent with “Some People” and “Everything’s Coming Up Roses” as well as “You’ll Never Get Away from Me” her duet with Herbie.

            Christopher Swan is Herbie, the once former agent, now candy salesman, hooked back into being an agent again by the ever manipulative Rose. He is a good hearted man who genuinely cares for Rose and her daughter as well as the young women enticed into the act to trot about the country with them to all sorts of backwater vaudeville houses replete with cornball acts galore. Swan does a fine job in the role, convincing at every turn and shows a warmth that the girl’s mother lacks. He is good in “Have An Eggroll Mr. Goldstone” and “Together Wherever We Go.”

            Kristin Wetherington is the grown Louise, a shy, terrified young woman who struggles to get free of her mother’s over dominating personality and her sister June’s leading the act until she leaves to elope and wash her hands of her show and her domineering mother. She is outstanding in “The Strip” “If Momma Was Married” with her sister June, played by Juliettte Salway.

As far as the younger version of Gypsy and her sister June, Abigail Page as Louise and Victoria Cardi as June are just fine talented and energetic in their roles. They shine in “Let Me Entertain You.’

The rest of the supporting cast is solid and offer fine support to the principals.

            Russell  Garrett directed and choreographed the show with flair and style. Despite the somewhat dated material, particularly in the first act, he keeps it on course and enjoyable. Musical director Justin P. Cowen keeps the singers and the orchestra he conducts on track and agreeable.

            Scenic designer Kimberly V. Powers provides imaginative sets which evoke backstage at a vaudeville theater and elsewhere effectively.

The first act mostly revisits bad vaudeville acts and what often passed for entertainment in those days, being corny and barely bearable. Despite the fact it seems dated, the production keeps being entertaining with the fine performances throughout.

            Gypsy" runs through Aug. 2 at Ocean State Theatre, 1245 Jefferson Blvd. Warwick. Tickets are $39-$54. Call (401) 921-6800, or visit oceanstatetheatre.org.

“My Fair Lady” at Theatre by the Sea

By Richard Pacheco

            The current production at Theatre by the Sea of the Lerner Lowe classic “My Fair Lady” is a delightful production spurred by talented performances, some stunning sets and great music. “My Fair Lady” is a musical based on George Bernard Shaw's “Pygmalion,” with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The story concerns Eliza Doolittle, a Cockney flower girl who takes speech lessons from professor Henry Higgins, a phoneticist, so that she may pass as a lady. The original Broadway, London and film versions all starred Rex Harrison. Theatre by the Sea stars Charles Shaughnessy of television’s “the Nanny” fame.

The result is a charming, energetic, ebullient production that never rails to please with its finesse and dazzling talent.

It all begins when Col Pickering and Higgins make a bet that Higgins cannot turn Eliza into a lady. Higgins decides to take her into his house to instruct her in the details and finesse of speaking and acting like a lady. They work ceaselessly and tirelessly to master her elocution with determination and Higgins showing off his self centered, self absorbed attitude towards her along the way.

Her first test is the racing at Ascot and the opportunity to meet Higgins’s mother. Eliza carries it off delightfully despite a faux pas at the end when she lapses into her Cockney roots. It doesn’t matter however,  as they are all charmed.

Eliza's final test requires her to pass as a lady at the Embassy Ball, A rival and former student of Higgins, a Hungarian phonetician named Zoltan Karpathy, is employed by the hostess to discover Eliza's origins through her speech. The event is revealed to have been a success, with Zoltan Karpathy having concluded that Eliza is not only Hungarian, but of royal blood. She is a princess.

Charles Shaughnessy of television’s “The Nanny” fame is Higgins. Sophisticated, an elitist he is self absorbed and rational to a fault. One false note occurs at the end when Higgins is supposed to fall in love with Eliza.  It is not totally convincing with Shaughnessy being still too much aloof and uninvolved with her to be truly convincing. Beyond that, it is a wonderful performance full of charm and finesse as well as skill. He is excellent with his singing of “Why Can’t the English” full of gusto and zest.

Kerry Conte is Eliza, a poor young flower seller in downtown London with a dense Cockney accent. Se is endearing and charming in the role. Her transition from Cockney flower girl to lady is convincing and appealing. She shines in “Just You Wait and her numbers with others like “I Could Have Danced All Night” and “The Rain in Spain” as well as “Wouldn’t It Be Loverly”.

A real stand out here is Eliza’s father, Alfred, played by Bill E. Deitrich. Alfred is a real conniver, a man out for himself but also likeable and charming. Deitrich makes this even more appealing with an energy and gusto that is perfect, full of sass and spirit.  He does well with his singing and dancing too as he displays in “Just A Little Bit” and the energetic “Get Me To the Church On Time” which he delivers with style and enthusiasm.

Tom Gleadow, well familiar to local audiences is solid as Mr. Pickering, who makes the bet with Higgins to transform the flower girl into a lady. While not his best performance, it is well done, full of confidence and skill.

Xachary Berger as Freddy, enamored of Eliza is a young man infatuated by love, distracted by Eliza’s beauty and style. He shines with his song “On The Street Where She Lives: being sincere and convincing.

Among the other supporting cast which adds so much to this production are Maria Day as Mrs. Higgins and Ellen Peterson as Mrs. Pierce, Higgins’s main servant.

There are many treats in this show with admirable signing and vivacious dancing.  The “Ascot Gavotte”  is very funny and right on the mark as the singers follow the racing horses around the  track with relentless dedication and an air of aloofness. There is more fun to be found with

Charles Repole directs with a sure hand and firm touch throughout. Musical director Milton Granger is excellent in his direction of the singers and conducting the orchestra. The sets by Michael P. Kramer work very well, beings suggestive and effective and imaginative throughout. The choreography by Michael Lightefeld is spirited and vibrant, never failing with imaginative touches throughout.

"My Fair Lady" runs through July 18 at Theatre By The Sea, 364 Cards Pond Road, Matunuck. Tickets are $45-$65. call (401) 782-8587, or visit theatrebythesea.com.

“Venus in Fur” at 2nd Story Theatre

By Richard Pacheco

            “Venus in Fur” is a two-person play by David Ives set in modern New York City. The play had its premiere off-Broadway at the Classic Stage Company in 2010 and on Broadway in 2011. The current production at 2^nd Story sparkles with sheer brilliance, raw energy and is packed with laughter as well as being provocative.

            Thomas Novachek is the writer-director of a new play opening in New York City; this play-within-the-play is an adaptation of the 1870 novel “Venus in Furs “by the Austrian author Leopold von Sacher-Masoch and happens to be the novel that inspired the term Masochism. The play begins with Novachek on the telephone lamenting the inadequacies of the actresses who have showed up that day to audition for the lead character, Wanda von Dunayev. Suddenly, at the last minute, a new actress, Vanda Jordan, bursts in. Novachek is on the telephone lamenting the inadequacies of the actresses who have showed up that day to audition for the lead character,

            Vanda Jordan, bursts in. and she is brash, vulgar and unschooled, but she convinces him to let her audition for the part of Wanda. The playwright will read the part of Severin von Kushemski. They both become caught up in the characters they are reading, often interchanging art and reality with unexpected consequences.

            Richard Derry is Novachek, the playwright frustrated by the actresses who have thus far auditioned for him. He is frustrated by his efforts to audition a leading lady for the play, with no one seeming to measure up to his artistic needs. As he reads the part of Severin von Kushemski je becomes swept up in the play, at times merging his character with that of the character in the play. Derry is wonderful in the role, sheer brilliance as he deftly shifts back and forth between playwrights and character.

            Lara Hakeem is the actress, Vanda, who arrives late for the audition. She is brash, vulgar and obnoxious, but also very sexy, sensual and provocative. She is outspoken and daring as a person and as an actress, very nervy and bold. She moves in and out of the role she is auditioning for and the actress at the audition with skill and finesse. She is audacious and inventive, full of energy and sassy. She alternates between the audacious actress and the sexy character with finesse, effortlessly being either seductive or brash ass needed. It is an impeccable performance.

            The chemistry between the two is impressive at once vibrant and touching, inventive and provocative.

            Ed Shea directs with zest and intelligence. He knows how to evoke the best from these two actors and does so consistently and robustly.

            The set and lighting design by Max Ponticelli is right on target evoking the bare auditions space with the overhead skylights with skill and vision.

            The costumes by Ron Cesario are perfect from her provocative dominatrix outfit to the coats he wears as the character in the play.

This is a do not miss production, one loaded with terrific acting and an intriguing play that is inventive and provocative.

“Venus in Fur" runs through June 28 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for those 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com. 

“And Miss Reardon Drinks A Little” at 2nd Story Theatre

By Richard Pacheco

            The current production at 2^nd Story Theatre of Paul Zindel’s “And Miss Reardon Drinks A Little” is sheer theatrical gold, It is polished, intense and riveting, loaded with laughs and fraught with emotional moments. The writing is top notch, full of funny contrasted by moments of disheartening pain and power. The acting in it is simply superb.

            Paul Zindel wrote this play in the late 1960s. The show was first produced in 1967 in Los Angeles, but was not published until 1971 when the Dramatists Play Service in New York picked it up. On February 2, 1971, And Miss Reardon Drinks A Little made its Broadway debut. It ran for a total of 108 performances and was directed by Melvin Bernhardt. The original Broadway Cast included Julie Harris as Anna Reardon, Estelle Parsons as Catherine Reardon, Rae Allen as Fleur Stein, Bill Macy as Bob Stein, Nancy Marchand as Ceil Adams, Estelle Parsons was nominated for a Tony Award for her role as Catherine Reardon and Rae Allen won for her portrayal of Fleur Stien.

            The cast here is a wonder and a delight. This tale of three dysfunctional school teachers is pure magic. The three sisters lost their mother about eight months earlier and that has taken it’s toll on the women, mostly Anna, who seems to fall to pieces over it, slipping into odd behavior from embracing strange real cats, not even  dissuade when on attacks her and she insists, wrongly, that she has rabies.

            Erin Olsen is a wonder as the crazed sister on temporary leave from teaching for her illness and some alleged bad conduct with a young male student, is riveting. From her maniacal laughter and absurd antics to her moments of painful withdrawal, she is excellent.

            Then there is the imbibing sister referred to in the title, Catherine, played by Lara Hakeem. She has by choice scarified her life to hold this shattered family together. It had taken its toll on her and she seethes with anger and a fierce sense of humor that is totally relentless and merciless. She is fed up with her now vegetarian sister Anna’s compulsions to eat zucchini and drained by trying to find new ways to cook it

            Then there is sister Ceil, cool, aloof, accomplished who has risen to become superintendent of schools by protecting number one without reservation of restriction. She appears to b in control and com[pared to her sisters she is, but she is also self absorbed and takes care of number one, namely here. She will throw anyone under the bus to preserve her own career and station in life, including family. Tanya Anderson delivers an outstanding performance as the sister with a mission and ruthless determination.  She is impeccable in her steely demeanor and aloof poise.

            Also on hand is a wannabe guidance counselor, Fleur Stein.  She is a real kiss up and no doubt stops by to kiss up to the superintendent sister and does so from the moment she arrives.  She is played with humor and flair by Susie Bowen Powers.

            Her husband Bob, played by Joseph Henderson who is less than thrilled by some of her habits and how she likes to acquire things from school like toilet paper and paper towels, much to his dismay and chagrin.  It is he who delivers the bomb that they do not recover from just before he departs. He is suitably annoying and persistent as he rambles on full of himself and very conscious of his wife’s failings which he does not hesitate to list with gusto.

            Finally there is Marica A. Layden as Mrs. Pentrano, who lives in the building and has a home business for cosmetics etc. and she is relentless in her pursuit of sales and a bit of malapropist, often using the wrong word or mispronouncing it with gusto and conviction. Layden is delightfully annoying in the role a mixture of dense and  dogged in her pursuit.

            This play zooms on with relentless and fierce humor and nothing and no one is immune to the bite. Together this cast sizzles with energy and vehemence and liberal doses of laughs in between the biting comments.

            Mark Peckham directs with a sure and certain touch. He keeps the pace fast and furious and the actors interactions sparking with snippets of  venom and bile in the midst of the hilarity.

            Trevor Eliot’s set design is once again excellent., evoking a cramped apartment where two of the three sisters live.

            "And Miss Reardon Drinks a Little" runs through May 17 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for those 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com. 

“Lend me a Tenor” at Ocean State Theatre

By Richard Pacheco

            The current production at Ocean State Theatre is feisty and full of energy, loaded with laughs thanks to strong direction and excellent performances. The Ken Ludwig comedy received nine Tony nominations when it played in New York. The play is set in 1934 in Cleveland for the Cleveland Grand Opera Company.

            The Cleveland Grand Opera Company has booked the famous Italian tenor Tito Merelli to sing the lead in Verdi's "Otello." But Merelli takes an extra dose of sedative to calm down and they think he is dead. In a fit of panic, the head of the opera house, Henry Saunders sends his relentless assistant, an aspiring opera singer, Max, off to pretend to be Merelli and sing in his place. In the middle of this mess, Merelli wakes up and now there are two men in blackface and Othello costumes running around the hotel, darting in and out of bathrooms and closets to avoid an irate wife and some horny female opera singers.  It all grows increasingly outrageous with each passing minute.

            Nick Gaswirth is Max. the wannabe opera star and assistant. He is mild mannered and insecure expect for caring about Maggie, Saunder’s daughter and about being passionate about singing opera and being a star. Gaswirth is right on the mark as  the timid man propelled into the middle of his wildest dream by a quirk in circumstance.

            The imported Italian Opera star Tito Merelli is a total womanizer, a man of talent and huge appetites, mostly sexual. He is a hopeless flirt and his actions infuriate his wife constantly firing her hot temper to new explosions of rage and distrust.  Bruce Sabbath is Merelli and he plays him with panache and flair, full of energy and as a relentless womanizer.

            Although this is not a musical, there is a point where Gaswirth and Sabath sing a Verdi suet together and it is well done, very enjoyable.

            Alexander Cook is Saunders, the head of the Cleveland Opera. He is the epitome of classic restraint except when he loses it when he thinks Tito is dead. He is a sharp, hard edged businessman and Cook plays him well, full of firm confidence and a sense of control.

            Gerianne Genga is Merelli’s flamboyant and passionate wife with her jealous streak, Maria. She is a bundle of energy and raw passions as she rants and rambles about with her jealously running amok.  Genga is right on the mark in the role, a madcap mixture of passion and zest.

            Elizabeth Boyke is Maggie, Saunder’s daughter who is intrigued fascinated and in awe of the famous Merelli, opera star. She wants to have a fling before she settles down with Max, so why not with a famous opera star? She is an innocent held spellbound by the pull of famous star, attracted into his orbit, under his spell. Boyke is wonderful as the innocent wanting to go awry for a famous fling.

            Rochelle Weinrauch is Diana who sings opposite Merilli as Desdemona, and is enamored of him as much as Maggie. She is enticing and seductive, shimmering an elegance and finesse and high style as she zooms in like a black widow to get what she wants. Weinrauch is delightful in the role, full of zest and sultry finesse.

            Maria Tavarozzi is Julia, a snooty grand supporter of the opera. Tavarozzi is a delight in her sliver wig and haughty demeanor, a joy to watch.

            Finally is Kevin Broccoli as the opera loving bellhop, whose passion for opera nearly exceeds those of the singers. Broccoli is a comic gem in the role bringing just the right touches to it with superb comic timing.

            The direction by Kevin Pariseau is impeccable and meticulous. He is always aware of pace and keeps it moving merrily along. It is sheer fun from beginning to end, a delight to watch.

            The hotel art deco set by Amanda Hall and the costumes by Ryan J. Moller are sheer delight, true to era and exquisite.

            Lend Me a Tenor" runs through April 19 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Tickets are $34-$49. Call (401) 921-6800, or visit oceanstatetheatre.org.

“Lysistrata” at Cape Cod Community College

By Richard Pacheco

            Cape Cod Community College’s current production of the classic Aristophanes play “Lysistrata” is a merry raunchy romp, full of vitality and sheer fun. Originally performed in classical Athens in 411 BC, it is a comic account of one woman's extraordinary mission to end the Peloponnesian War. Lysistrata persuades the women of Greece to withhold sexual privileges from their husbands and lovers as a means of forcing the men to negotiate peace — a strategy, however, that inflames the battle between the sexes. The play is notable for being an early exposé of sexual relations in a male-dominated society. This translation by Douglass Parker is raucous fun, full of double entendres, sexual innuendoes and jokes galore, which the director aptly calls the Mel Brooks version, not at all academic but full of sheer fun able to deftly trample boundaries of good taste at a single bound.

            Kimberly Monteiro is Lysistrata, the woman with a mission to make love not war. She struggles to rally the women behind her cause to cut off all sex from the men until they end the war, period and most succinctly. It is an uphill battle, one fraught with assorted difficulties but she is determined. Monteiro is solid in the role, full of energy and enthusiasm. She offers a strong presence, a woman of sheer will and concentration bent on victory and the end of the war no matter what it takes.

            She has a bevy of determined women with her, some varying in their dedication and enthusiasm for the cause but still willing to contribute to the best of their abilities.

            The men who try to thwart this plan are many and just as dedicated until the lack of sex starts taking its toll on all of them eventually ending with them stuck at attention to the task at mind.

            Dustin Martin is the commissioner of public safety whose loyalty and dedication to the cause of war are not in question. But he is a man and eventually the battle of the sexes takes its toll on him as well and he succumbs to the pressure to relent in war. Martin is delightful as the commissioner, full of bluster and at times pompous, a loyal city father dedicated to the cause of the current war.

            Ben Gutman is Kinesias, a renown warrior who loves his wife even more than war so it turns out. When he returns for battle for a conjugal visit and his wife refuses him sex, it paridly brings about his change of heart to embracing the new cause of peace and put an end to his priapism.  Gutman is hilarious as he battles his wife’s refusal and his painful condition. He makes the most of double entendres and sexual comments to very funny effect.

            Emily Entwhisle is Myrrhine, his wife. She is winning as the temptress, who shamelessly teases and tantalizes her husband but refuses to surrender to his advances, no matter how long it has been unless he supports giving up the war.

            Cameron Hall is Kinesias’ slave, a man dedicated to his mater determined to help him solve his marital plight as bet he can. Hall is a hoot as the slave, full of energy and enthusiasm.

            Special mention has to be made of the Spartan Ambassadors who sound like big time hillbilly rednecks. They are outrageously funny with the twang in their voices and their rough and ready presence.

            Of the women, the names ones and not the choruses, Emily Tullock, Emily Entwhisle. Taryn Van Esslestyn and Liz Bent are sheer delights with their various antics and quirks as they come over to the cause espoused by Lysistrata.

            The fairly good sized choruses of men and women offer distinctive personalities as well as blending into homogeneous wholes when needed.

            Director Elizabeth Rapoza keeps everything moving at a merry raunchy pace, the sex jokes and antics running amok with a sense of raw energy and sheer abandon.  It is a large cast with both male and female choruses and she handles their movement with skill and grace.

            The set by Guy Trudeau is excellent, with two Greek style buildings on either side and a temple entrance at rear of the stage with a frieze atop which is elegant and classic in style and beauty.

            It is a vigorous, rambunctious good time, rich in sexual remarks, situations and double entendres. Aristophanes would have been happy to see it.

            “Lysistrata” at Tilden Arts Center, Cape Cod Community College, 2240 Ivanaugh Road, West Barnsatable, MA n 508-362-2131, April 9-11, 17 and 18, 24, 25 at 7 pm, April 11, 18, 25 at 2 pm. $15 general admission, free with student ID.

“Other Desert Cities” at 2nd Story Theatre

By Richard Pacheco

            “Other Desert Cities” currently at 2^nd Story Theatre is a riveting story, eminently well acted and directed, full of growing power and presence. The  Jon Robin Baitz play was a finalist for the 2012 Pulitzer Prize in drama. The story is simple enough, Brooke, the daughter returns home after a very successful novel with her second project, a memoir, basically a tell all book that is sure to infuriated her parents. It is the mixture of insufferable parents and their child in search of “the truth.” It is an inevitable collision of increasingly dire consequences. This Christmas Eve gathering in Palm Springs is doomed from the first.

            Rachel Morris is Brooke, who struggles with the success of her first novel to come up with something to match its success. She ahs suffered from a variety of mental issues, ending up debilitated many times in her struggle back to her life and her writing. She is headstrong and determined and will not be deterred in her course. Morris delivers a solid performance, full of energy and determination.

            Joanne Fayan is her alcoholic aunt Silda, who serves as her undercover source in her memoir, her Deep Throat so to speak. She struggles to get off the booze a battle she has been fighting unsuccessfully for many years. She has resentment for her sister who has helped, but lords it over her mercilessly.  It is s fiery performance full of electric energy and zest.

            Lording over the family is the ultra cool and collected mother, Polly, reminiscent of Nancy Reagan, a protégé of hers, a woman with a calculating nature that is relentless and fearless. Nothing unravels her and you don’t want her for an enemy, ever.  Sharon Carpentier is cool and poised in the role, the epitome of aloof control in any circumstance.

            Then there is Brooke’s younger brother, the cool and hip Trip, a television producer for a court reality show which is quite popular. He is a font of sarcasm and humor and the only family member to live home with his parents. Ara Bohigian is on the mark as the man who loves his sister and his parents despite their flaws, all of their flaws and struggles to maintain both in these close quarter conflicts.

            Finally there is the husband and father Lyman a retired actor and ambassador under Regan who battles the conglomerated emotional mess of his family as best he can trying to balance his loyalties between the daughter he loves and his wife whom he also loves. Vince Petronio delivers a solid performance that is right on target as the easy going politician who keeps the secrets buried until he has to expose them in spite of himself.

            Director Ed Shea keeps the pace moving and directs in the round which allows for minimal set, mostly furniture. He keeps the intensity mounting and the laughs coming with a firm sure hand.

            "Othe Desert Cities" (13 March – 12 April)

2ND STORY THEATRE

@ 28 Market Street, WARREN RI

1(401)247-4200

           

“Ladies at the Alamo” at Theatre One

By Richard Pacheco

            Theatre One closes its season with Pulitzer Prize winner Paul Zindel’s fierce comedy “Ladies at the Alamo” which takes a searing look at life behind the scenes at a Texas theatre in Texas City in the throes of a power struggle. The five women cast seethe with comic venom as they go down and dirty with each other in an attempt to run the theatre through all manner of finagling and double dealing from which no one is immune. It is propelled by a talented and fierce cast full of fire and with relentless energy.

            The setting is the lavish reception room of the new multi-million dollar Alamo Theatre, which grew from its modest beginnings to one of the gems of Texas culture. It opens as the leadership of Dede Cooper, the founder and artistic director is under fire, challenged by the chairman of the board, a woman of great wealth and a unsatisfied lust for power and control with a passionate desire to replace Dede. Joanne wants to bring in a hand picked replacement and squeeze Dede out. She will not go without a fight.

            Kathy Bourne is Dede Cooper, a woman who knows how to fight her way up from tough beginnings. She is determined, dedicated with tunnel visions on her goals as the theater director, come what may. This Texas flower has loads of thorns and does not hesitate to use whatever she has at hand to defend herself against all comers. Bourne is a delight with her Southern twang and non nonsense demeanor. She can smile with the best of them while poising for the frontal attack to rip her enemies to shreds without mercy.

            Linda Merritt is the wealthy sophisticate, Joanne Remington, a woman with more money than she knows what to do with and believes since she gave so much to the new center she has a right to control it all no matter who gets in her way. She is snobby, wealthy, oozes privilege and condescension towards all, particularly Dede. Merritt is right on the mark as Joanne, a perfect mixture of poise and nastiness that delights while it surprises.

            Amanda Hayter is Bella Gardner, the feisty, outspoken, often outrageous best friend of Dede and the town slut. Her mouth and her body know no bounds and are confined by nothing except her whim and whimsy or by her capricious will. Hayter is sass and spunk as Bella, the hard drinking, boisterous good time gal with no reservations and constraints.

Jess Wilson is Suits, Joanne’s right hand, and somewhat shady assistant, who seems like she would stop at nothing to help her boss achieve her goals, at once fierce and menacing. Wilson is overbearing and ominous as the character requires and she does it with skill, flair and determination as well as menace. Yet she is also capable of touching monologue she gives in Act II.

Susan Salvesen is the aging movie star Shirley Fuller, who returns to the theater where she got her start, this time to take over after her movie career seems to tank and her options are few. She has left her Texas twang behind and struts about with the poise of a once confident star, now brought low by life. Salvesen is the epitome of the overbearing movie star, tons of bluster and trembling in insecurities, too many to mention.

This keen cast is right on the mark, full of fun and oozing nastiness when they battle, ladies in name only. Here, the battleground is equal and no matter where you came from, money and sophistication or the down and dirty Texas streets, it all evens out when the claws come out for attack and defend with delicious malice.

Director Peg Holzemer, who directed this play in the 1980’s at Theatre One, has brought it back again with equal success and flair. The pacing is taut, the lines delivered with scornful and lively flair for a dose of pure venomous fun.

“Ladies at the Alamo” is feisty, down and dirty fun, loaded with verbal venom and raw attitudes across the boards. The terrific cast keeps it all racing along with energy and impudence that is impressive and hilarious. You don’t want to tangle with these so called ladies at all, not if you hope to get out intact.

It continues at Alley Theatre 133 Center Street Middleboro. March 12- 22 at 7:30pm Sunday March 22 at 2pm.  Tickets at the Door “Cash Only” Students & Seniors $15 Gen $18 Food Donations for the COA Senior Food Pantry accepted at all Performances. Info 1-774-213-5193.

“The Last Five Years” at Ocean State

By Richard Pacheco

            “The Last Five Years” at Ocean State Theatre, the directorial debut of Joel Kipper is a good concept gone wry. It is Jason Robert Brown’s unconventional look at the break up of a marriage, inspired by the break up of his marriage. It is told by the couple, each telling the tale in opposite directions, her from the end to the start and he from start to finish.

            One of the major problems with the show is it gets confusing about who is where. Brown is a three time Tony Award winner but this show does not show off his strengths at all. The music is without variety and a bit monotonous for the 90 minutes, with the emphasis on jazz and through composed, meaning there is no dialogue (aright precious little) dialogue through out to hold it together and give us the relationship between the characters.

The two characters tell their tales with little interaction, the only spot is a song about their wedding, and it leaves you with two separate stories which can often be difficult to untangle and characters about who it is difficult to care. When it played in New York, it only ran from March to May Off Broadway in 2002.

One of the songs, “The Schmuel Song” about a Jewish tailor is totally unnecessary and adds nothing to the story. Whatever flow it might have is disrupted by the intermission. It could be missing with no loss at all.

So much of their tale is nebulous and vague, You learn that he gets somewhat famous and she gets jealous and he ends up cheating on her. They may or may not have had a child together as it is difficult to tell. Nothing is substantial or lingering in the memory. The premise of the show is established in the first scene, but we do not get toe learn much about them in detail, it is all vague, somewhat nebulous as their marriage disintegrates.

Neither actor is an overly impressive singer. Alyssa Gorgone as Cathy at time has trouble with pitch. David Demato as Jaime often bellows and bullies his way through songs.

Alyssa Gorgone plays Cathy, the wife. She is an aspiring actress whose career is best by many difficulties while her husband’s seems to take off from day one to ever greater heights. She is at times uncertain and lacks self confidence, but at first certain she ill love him forever. After all, who goes into a marriage with the intent of divorce? She constantly battles the demands of an acting career, with its endless disappointments and frustrations with his ever building success as a writer, reaching higher and higher levels in society. She starts with resentment aimed at Jaime and it seethes and grows constantly, destroying whatever they once had. She has energy, but often strains for pitch.

David Demato is Jaime, her Jewish husband. He is infatuated by his wife from the first moment. He is also infatuated with his ever growing career which starts to soar from the first moment. It creates conflicts in the marriage and puts him in temptation’s way as his writing reputation grows and his wife’s resentment and jealousy grows at an equal rate. He ends up being massively disenchanted and ready to love on by packing what he owns into a box and leaving, tired of the life they now share from the glowing romance brimming with hope he believed they once had. With many songs he bellows, yet he manges to maintain some degree of charm as the ever successful Jaime.

Director Joel Kipper tires to keep the pacing on the mark, but the musical presents some insurmountable difficulties for him or any director. One of the most difficult is the characters we don’t care about very much anymore than the tale of strangers on a plane in passing. The production is disappointing on so many levels.

Kimberly Powers set design has an innate charm and flair which is a definite plus. The look is excellent and endearing.

"The Last Five Years" (25 February - 15 March)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

“The Meeting” at Ocean State Theatre Company

by Richard Pacheco

            The Jeff Stetson play, “The Meeting” currently at Ocean State Theatre  is inspired by an imaginary meeting between Martin Luther King, Jr. and Malcolm X in February 1965 in a hotel room. It is fast paced and vivid sparked by solid performances and deft direction.  It is the New England premiere.

It gets off to a slow start with montage of images and newsreels before and after the show. While the images are solid, they go on to long before anything happens onstage. When the play starts it is often taut, intense and provocative. The conflict of the two ideologies is often compelling and always interesting as the two men go at it, philosophies overflowing and ready. The philosophical differences between the two are well known. Kind preferred the much slower peaceful transition to equality in their face of Malcolm X’s more aggressive in your face tactics.

It opens with Malcom X and his bodyguard, Rashad in the hotel room as he enters with his pistol drawn, poised for trouble. The two end up joking and singing a Billie Holiday duet while waiting for the “king of love.”

The meeting between the revolutionary and the two men are immediately contrasted in their methods from the first. When King arrives. Rashad helps him off with his coat and manages to sneak in a frisk of him as well which gets a laugh. Both Malcolm and King get equal billing, but Malcolm by far is the most dynamic. Malcolm asserts that “aggression in the name of self-defense is not violence, it’s honor.”

          

Damron Russel Armstrong is Malcolm X. He is full of energy, zest and passion. He has an intriguing and dynamic mind and is very animated. He is in your face and hard to ignore. Armstrong delivers a winning performance, full of fervor and conviction.
        Marcus Deward Johnson is Dr. King. He is a man restrained and determined, mild in manner and style. He does not resemble King at all but has mastered his mannerisms, spirit and voice to deliver a fine performance.

Tony Mitchell is Rashad, the bodyguard. He is a hulking presence at once ominous and protective. Mitchell is fine as the bodyguard in a vibrant performance and musters humor when needed in contrast to his ominous size.

Ocean State Theatre Company's Producing Artistic Director, Amiee Turner directs with a keen touch and eye to pacing in the best of her straight play direction efforts which is perceptive and always on the mark. She also designed the set which is simple and works well evoking a 60’s seedy hotel room.

Stetson keeps his writing crisp and often insightful, with many gems along the way. He clearly and deftly defines each man’s stance and tactics to achieve their goals. Their social and political goals are very clear. Kind the advocate of non violence and Malcolm the advocate of do what is necessary to get the hob done. Stetson does a fine job of imagining how such a meeting would have gone, with its humor along the way. Two moments stand out for humor, the one when the bodyguard frisks King under the guise of helping him off with his coat and the other a touching moment when King gives Malcolm and doll for King’s daughter to Malcolm’s after Malcolm’s home has been bombed the night before.

The arm wrestling between King and Malcolm echoes their philosophical battle in concrete terms, making it more theatrical. What happens over this philosophical confrontation is the two men gradually reach a level of mutual respect as King ponders how much they could have accomplished if they had managed to work together for their mutual goals. Even thought set in the 1960’s it relates to contemporary headlines and news.

It will be presented again at Ocean State through Feb. 15.

"The Meeting" (28 January - 15 February)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

“Collected Stories” at 2nd Story Theatre

by Richard Pacheco

            Donald Margules “Collected Stories” is 2ns Story Theatre’s current production and it brought vividly to life by two sparkling performances that resonate in heart and mind, rich and intriguing. The play was commissioned and premiered by South Coast Repertory, Costa Mesa, California in October, 1996, directed by Lisa Peterson. The play was a Pulitzer Prize finalist (shortlisted in April 1997).The Manhattan Theatre Club presented the play off-Broadway, at Manhattan Theatre Club Stage I, from May 20, 1997 through July 27, 1997.

            Ruth Steiner is a teacher and respected short story writer. Her student and protégée is Lisa Morrison. Over the course of 6 years, Lisa journeys from insecure, naive student to successful writer who is getting to be as famous as her mentot. After publishing a well-received collection of short stories, Lisa writes a novel based on Ruth's affair with the poet Delmore Schwartz when she was young. It creates a rift between them, driving a wedge deeper between the women. The women deal with the moral dilemma of whether a person's life events are suitable for another to use in their own creative process.

The first act evolves as the two women become closer, Lisa the sycophant, fawning over her adored idol and teacher. Ruth, become motherly, sharing not only wisdom from writing, but tales of growing up Jewish in New York and her affair with poet Delmore Schwartz which left an indelible and persona mark on her life. These are tales she means not to tell as she points out some things are not meant to be told when Lisa asks if she has written it yet. When Lisa borrows this for her novel their relationship explodes into a massive battle of betrayal and fears.

            Lynne Collinson, Executive Director of 2^nd Story Theatre is Ruth Steiner. Ruth is independent, crusty, suspicious and guarded as well as savvy in the ways for writers and the writer’s world. She was noticed for her collection of short stories, catapulted into the limelight and then, over the passing years allowed to slip back into a somewhat obscurity, known mainly as a teacher and not as much as a writer any longer. She keeps the world at bay and warily, reluctantly allows her new student into this rich past with shared stories that she has guarded for years. Collinson is wonderful in the role, full of passion and packed with sincerity as she negotiates the tricky straits between mentor and wounded woman. The fireworks for the final scene with Sherba are explosive and impressive, memorable on so many levels. It is a brilliant performance.

            Gabby Sherba is Lisa Morrison, Ruth’s protégé who goes through several years from nervous, shy student to a young writer moving into her own after a successful collection of stories and on the verge of publishing her first novel. She starts off talented, needy and ambitious, if a bit over solicitous. She is looking for an artistic parent figure and has found it in Ruth. She deftly handles the transition from meek, adoring student of writer coming into her own with finesse and honesty. This too is a spectacular performance.

What evolves here is two excellent performances, sure to linger in the memory for a long time rich, nuanced and vivid and truthful. Lisa in an act she believes to be a testament to her mentor appropriates elements of the tale for her much anticipated first novel. For Ruth, it is an act of total betrayal and perfidy.  The explosion between the two is magnificent theater, haunting and inescapable.

Director Mark Peckham keeps everything vividly on course with an incredible array of emotional impact and richness. His directing is crisp and multidimensional.

The set by Trevor Elliot is brilliant, rich in detail as it recreates a 1990 apartment complete with walls loaded with art and shelves packed with books and the view from the window of the next door building in the rain.

These are performances ripe with integrity and sincerity, full of fine touches and dense with a range of emotions all truthful and glowing. The two are spellbinding and wonderful performances that never miss their mark. It is riveting and compelling theater, particularly the final scene which is magnetic and searing, magnificent theatre.            “Collected Stories” runs through Feb 8 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, $21 for those 21 and younger. Call (401) 247-4200, or visit 2ndstorytheatre.com.