"Bell Book and Candle" at 2nd Story

By Richard Pacheco

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

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

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

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

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

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

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

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

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

"Beauty and the Beast" at Theatre by the Sea

By Richard Pacheco

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

           

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

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

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

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

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

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

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

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

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

"The Music Man" at Theatre by the Sea

By Richard Pacheco

         

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

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

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

         

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

          

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

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

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

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

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

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

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

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

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

“King Elizabeth” at the Gamm

By Richard Pacheco

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

          

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

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

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

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

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

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

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

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

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

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

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

“The Best of Everything” at 2nd Story

By Richard Pacheco

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

          

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

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

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

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

        

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

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

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

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

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

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

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

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

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

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

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

“Art” at 2nd Story Theatre

By Richard Pacheco

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

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

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

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

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

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

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

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

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

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

“Inherit the Wind” at Ocean State

By Richard Pacheco

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

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

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

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

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

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

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

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

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

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

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

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

           

“Shirley Valentine” at 2nd Story Theatre

By Richard Pacheco

            Shirley Valentine is a one-character play by Willy Russell. Taking the form of a monologue by a middle-aged, working class Liverpool housewife, it focuses on her life before and after a transforming holiday abroad. Russell turned the acclaimed play into a film staring the actress who did the show on stage in London’s West End, Pauline Collins.

The current production at 2^nd Story offers a bravura performance by Joanne Fayan that bristles, sparkles and delights without hesitation and without stop.    

            Shirley is stuck in her life, caught and trapped in the dull day to day in Liverpool. There seems to be no escape from her doldrums which daily encroach on her and only leave her with faded dreams and lost hopes, in short leave her in a dismal state longing for more. Shirley finds herself regularly alone and talking to the wall while preparing an evening meal of egg and chips for her emotionally distant husband. Her friend whose husband left her for the milkman, offers to take her along on a trip to Greece, all expenses paid and Shirley can’t resist. Her two children often annoy and distress her with their attitudes and antics. Her husband is often distant and self-absorbed leaving her feeling trapped with no way out of her dilemma, which only seems to get worse everyday.

            So when she heads off to Greece she does with a mixture of trepidation and excitement. Here is a chance to revive herself and her life to reconnect with the Shirley Valentine who was bold and daring and tamed down when she became a wife, misplacing her sense of daring and love of life. In Greece, she is ignites in her love of life and herself once again, reviving her sense of daring and adventure, stirring her courage once again.

            Joanne Fayan is raw delight in the role. She is poised and astute in her depiction of Shirley’s conflicting fees and dreams. She has personality that she exudes without fail. When she rants about her husband and her disappointments, it is comic gems, delivered with the right mixture os sassy and smart. The only thing missing from the performance is a Liverpool accent and frankly with this kind of gem of a performance, that is minimal and better no accent that a horrid one. Fayan’s performance makes up for this with a zest and convincing passion that illuminates the stage.

            Mark Peckham directs with a sureness of touch and real energy, which takes full advantage of the theater in the round set up at 2^nd Story’s upstairs theatre. He moves her with grace and supple confidence throughout the space, a sheer delight.

            The setting and light design by Max Ponticelli is right on the mark evoking both the Liverpool flat and the Greek ruins with discrete and slight touches that work perfectly.

            This is a bold and superb performance that shimmers with verve and personality, leaving an indelible mark in the memory and the heart. Ms.Fayan got a well deserved standing ovation at the end for her memorable performance. You don’t want to miss it.

            It will be presented again until April 2in the Upstage theater with tickets: Regular – $35, Preview (online) – $20, Preview (phone/in-person) – $25. Under 25 – $25* matiness are Thusday through Saturday at 7:30 and Sunday matinees at 2:30.

“Thriller of the Year” at Theatre One

By Richard Pacheco

            Theatre One finishes its season with a production of Glyn Jones’ “Thriller of the Year,” a play about a thriller writer who suddenly finds her life in jeopardy after wining a major award find a copy of her latest award winning book has been delivered with no note and no indication as to who it is from.

As the evening unfolds, when a series of unfortunate accidents occur, she soon finds out why: someone is trying to kill her using methods from her own book. Will she be able to discover the identity of the murderer before it is too late, using her novel to stay one step ahead; she finally comes face to face with the murderer. In the last chapter of her book how did her heroine die? And will Gillian suffer the same fate!

Jones, was a South African writer who also wrote for Dr. Who which he not only wrote for but acted in several times.

The Cast is strong and energetic. The have a solid chemistry between them and real verve. The award-winning writer, Gillian Howard, is played by Susan Salveston. Howard is smug, self-satisfied with her own importance and more than a bit of a bully. She likes to get her way at any and all costs, from anyone around her from her publisher to her assistant, her doctor to her soon to be former mother-in-law. None of them really matter in her universe unless they contribute to her goals and succumb to her wishes. Salveston handles it all with verve and aplomb, making the nastiness delicious and entertaining as she goes about verbally abusing people at her whim.

Holly Christian Cipriani is her publisher, Irene Knight, the woman who put Howard on the map in the writing world and now must endure Howard’s relentless attacks and threats to find another publisher for her next book. She likes her alcohol, and indulges in it liberally at the apartment, particularly when Howard is on the attack, knowing full well Howard is not supposed to drink for health reasons. Cipriani is energetic and bold in the role, a solid presence fully able to confront the rampaging Howard.

Vanessa Lima is Madge Robinson, Howard’s assistant and for all practical purposes indentured servant. Madge has a growing discontent with her job and her boss an wonders about leaving to find greener pastures in the job market. Madge is very efficient and has contributed a lot behind the scenes to Howard’s success, perhaps even adding something to her acclaimed novel, more than just typing it. She has an underlying resentment against her boss that is well justified. Lima is excellent in the role, a mixture of submission and self confidence in her abilities and contributions to her boss that is appealing and effective.

Elizabeth Goulart is the dedicated and determined Beryl Spence, Howard’s doctor at her beckon call. She is smart, dedicated and determined to be the most supportive doctor, even making house calls in the wee hours of the morning. She often battles Howard over health choices like drinking brandy. Goulart has a smart presence as the doctor. She is poised and in control at all times even faced with Howard’s often bombastic and relentless assaults on her and her advice. Goulart handles it all with confidence and conviction.

Finally there is Howard’s soon to be ex mother-in-law, Edith Howard who longs for Gillian to get back with her son and often hints very obviously in that direction. Edith is genuinely concerned and a bit of a meddler to achieve her goal of getting her son and Gillian back together again. She is not obnoxious it her quest, just very obvious. Linda Merritt is Edith. She is meek yet determined in her quest and she handles the role with sincerity and warmth. She is convincing.

Together this ensemble evokes a sense of impending doom, which mounts as the play progresses. All this under the sure and firm direction of Peg Holzemer, which keeps it all directly on track to build suspense and concern as the tension mounts.

The set by John Marzelli offers a fine sense of upper class presence with paintings on the wall and furniture.

All these elements offer a fun quest for a murder and mayhem as it all closes in and you wonder who is out to kill Gillian and why. It comes as a surprise which I will not spoil.   

It will be presented again March 10 & 17, and Saturday evenings March 11 & 18 at 7:30pm. Sunday afternoons March 12 & March 19, at 2pm. Tickets are $20 for general admission, and $18 for seniors and students cash only at the door. We collect food donations at all our performances for the Middleboro COA Senior Pantry. Come join the fun with Theatre One, bringing a little bit of Broadway to your backyard. Info 1-774-213-5193.

“The Nether” at the Gamm Theatre

By Richard Pacheco

            The Jennifer Haley play, “The Nether” currently at the Gamm is an excursion into the dark side of the virtual worlds of the Internet. It is not lasting literature but more like a lurid side trip that leaves you disgusted by the virtual haven for pedophiles and its seamier aspects of murder in an interpretation and invention of polices procedurals. It is a sci-fi serpentine crime thriller that lingers in the darker side of private dreams. While the author claims to despise police procedurals, the play turns out to be a weak example of one in many ways. "The Nether," which had its debut in 2012 in Los Angeles and has seen multiple productions, including off-Broadway and on London's West End.

           However the acting here is excellent with many deft and probing performances. The place where all this atrocities take place is called The Hideaway. The plot revolves around the efforts of a detective, Morris, to delve into the seamy underside of this place and if any violations of law are found, bring the perpetrators to justice. Nothing is clear and obvious because in the virtual world all kinds of things can happen from pedophilia to murder with few if any real world consequences unless you follow the detective’s logic. The actions shift between a dire space with a lighted cube in the middle and black curtains, the investigation room to the Victorian mansion where The virtual Hideaway exists.

            The man behind The Hideaway is Simms, who in the virtual world is called Papa and behind the virtual pedophilia there. He is aloof and self confident, a man who feels his actions in the virtual world are harmless and beyond the scope and jurisdiction of law enforcement. Simms is slickly confident and his abilities to skirt beyond the law in the virtual world. Richard Donelly plays Simms/Papa with finesse, inside the virtual world giving him a disconcerting, creepiness and is sure to disturb. Outside the virtual environment, interacting with Detective Morris, he is less assured, more concerned and nervous about the forces closing in on him.

            His nemesis in this is Detective Morris, who is relentless in her quest to find him guilty of something she can persecute in the real world, something that derives from the virtual world Simms in habits. Morris is clever and at times devious, doing whatever she has to in order to snare Simms. Casey Seymour Kim is the astute detective, who is like a rabid pit bull determined to not let go. Kim is full of finesse in the role balancing determination with a shrewd deviousness.

            Doyle is the man who the detective hopes to use to snare Simms. He is a rather ordinary man with darker desires, and a predilection for children as a sexual being. But only in the nether, not in real life. He is uncomfortable with his dark desires and Morris hopes to use that to enlist his aid to entice Simms to crimes in the real world. Jim O’Brien is Doyle, the man on the edge. He is nervous, and fearful, cautious and defensive, ready to protect himself no matter what it takes to escape responsibility in the real world for acts in the virtual. O’Brien is wonderful in the role, a mixture of guilt and defensiveness, a passionate desire to escape responsibility in the real world ro acts committed in the virtual.        

            Then there is Iris, the young girl in the Hideaway. She is innocent in some ways, and a temptress in others. She is the epitome of that mixture of appealing in a dark way and repulsive in others. Ally Gower is winning in the role, always managing to maintain the balance between innocence and darker implications with skill and grace.

Finally there is Woodnut, who is the counterpart for Doyle in the nether. HE is younger in the avatar than is Doyle, more dapper and fun filled. HE is really attracted to Iris and wants to love her not merely have sex with her, something forbidden in the nether. Jaime Default is Woodnut, a man with darker motives but still clinging on to his more moral side, even when confronted by the darker desires of the nether in The Hideaway. He is a combination of the skittery and the determined, lost amid a darker world and battling his better instincts.

Judith Swift directs with a keen eye to evoking the best from her cast and they deliver despite some of the issues with the play itself.

The Sarah Osana set design is the right mixture of stark interrogation room to elaborate Victorian manor.

Together this makes for a journey into the dark of private desires no matter how horrific into a virtual world where there are seemingly no consequences for those actions and the moral issues that invokes. The acting is superb, but the play seems a bit lacking like an inferior police procedural that the author so despises.

“The Nether” at Sandra Feinstein-Gamm Theatre, 172 Exchange St., Pawtucket, March 2-26, $33 previews (through Sunday); $44 and $52 (401) 723-4266, gammtheatre.org

“Little Women” at Ocean State Theatre

By Richard Pacheco

            “Little Women” the musical currently takes on the novel by the same name by Louisa May Alcott is a pleasant enough look at the novel which seems to lack full, deeper characters, instead content to dwell more on the surface of traits and events while lacking the nuance and details that makes that vivid onstage. If it has a saving grace it lies in the talented cast who manage to bring some of the lacking qualities to the fore.

            The musical adheres to the book in that The novel follows the lives of four sisters—Meg, Jo, Beth, and Amy March—detailing their passage from childhood to womanhood, and is loosely based on the author and her three sisters. The novel has been read as a romance or as a quest, or both and so does the musical. Alcott created a new form of literature, one that took elements from Romantic children's fiction and combined it with others from sentimental novels, resulting in a totally new format.

            Jo is the sister who longs to be a writer and this charts her journey from a wannabe to a paid writer and her artistic odyssey from melodramatic tragedies to a more realistic grounded tale about her and her sisters. Tess Jonas is Jo, the young woman with passion for writing and desire to avoid the traps of what is appropriate for a woman of those times as she does her best to avoid romance to replace writing. That does not mean she manages to avoid interest from the males around, just that she wants to deflect it away from her and her artistic goals. Jonas has a strong voice and vivid presence. She deftly delivers on Jo’s feisty personality, her dedication to her ideals and her unflinching rebel desire to not compromise. It is a winning performance and her voice shines with poise and elegance.

            Sister Beth is sheer sweetness and kindness. She is the epitome of caring for her sisters, her relentless love of them. She is the peacemaker, determined and dedicated to keep the family loving each other no matter what comes up. Bryn Martin plays Beth with sincerity and conviction.

            Sister Amy in the youngest and the one who wants desperately to be part of high society no matter what it takes. It makes her pompous and at times condescending, not appreciating others values and ambitions and often at odds with Jo. Abigail McMahon si Amy and she handles the role with verve and is vividly convincing handling the demands of this superficial and society obsessed young woman.

            Meg is the oldest sister, who earns for a great and conventional life complete with marriage and children. She is the epitome of those desires. Alison Novelli is on target with the role, skillfully portraying the honesty and conviction of Meg.

            Marmee is there mother, a strong determined woman who takes care of the family while her husband is off in the Civil War as a chaplain for the Union Army. She is dedicated to her daughters and keeping the family together and united despite any difficulties which might ensue. Artistic Director Aimee Tuner handles with role with grace and earnestness. She is poised and determined in the role.

            Laurie is the grandson of the somewhat cranky neighbor, Mister Laurence. Michael Luongo is Laurie. He handles his puppy dog attraction for Jo with dexterity and facility.

            Professor Bhaer is a teacher whom Jo meets in New York who becomes her friend and supporter. Tommy Labinaris plays him with the right amount of stiffness and proper gentleman of the era style.

Mr. Lawrence is usually pristine and proper, very stiff in his dealings with people but does have a softer side. Curt Danham handles the role with zest and elegance.

            John Brooke is Laurie’s tutor who is enchanted by Meg. Kevin Patrick Martin is effective in the role.

            Also on hand are Aunt March and Mrs. Kirk who runs the boardinghouse in New York, both played by Staci Morin with zest and style giving each character a distinction and definite personality.

            Director and choreographer Ethan Paulini keeps the pacing for the most part deft and on target.

            Scenic designer  Cliftin Chadick creates an intriguing space that is a mixture of real and dream with the back wall full of flowing white fabric and the structure, more hinted than real in the middle that offers a suggestion, a hint of building.

            Any issues here are with the show itself, not the performances which are excellent. The Jason Howland music is engaging enough and the book by Allen Knee is faithful enough to the novel, but the Mindi Diskstein lyrics are uneven, at times on the mark at others, sorely lacking.

            “Little Women” runs through March 19 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Evening performances stat at 7:30 and matinees at 2 pm. Tickets are $39-$59. Call (401) 921-6800, or visit oceanstatetheatre.org..

“Seascape” at 2nd Story

By Richard Pacheco

            Edward Albee who just died in September 2016 was one of America’s greatest playwrights and this play shows off Albee at his best with deft dialogue a balance between probing sincerity and absurdist flair. The play captured the 1975  Pulitzer Prize in drama. It covers familiar ground for Albee, that of interpersonal relationships and communication.

            In “Seascape” Albee probes the changes and challenges that face us in life. Charlie and Nancy face their retirement with some trepidation and concern. They have earned their retirement. In their gambit to the beach they encounter two fantastical sea creatures with which they interact. The seas creatures want more than they have in their undersea domain, crave so much more than they now have. There are moments that funny and then also serious.

            Charlie and Nancy discuss their married life, the ups and downs that go with it. There was a time when Charlie was depressed and Nancy almost divorced him. They both long for something more than they have, somehow feeling they were cheated by life and are missing out on things. As with just about all of Albee’s plays, this is about lives overflowing with regrets over things not done, roads not taken, people who spend their lives living as if they are never going to day only to realize so much has slipped through their fingers.

            Artist director Ed Shea who directed this, is Charlie who longs for endless rest and pleads with his wife to leave him alone. Yet when he remembers about when he was a child and used to weight himself down with rocks to sit underwater and enjoy the vista he say there, he perks up. The result is hysterical full of frustrated outbursts. Shea delivers an impeccable performance. He is bold, sincere and masterfully funny when he needs to be.

            Charles La Frond is Leslie, the male sea creature, who is wary and concerned out the encounter with this land folk. He is curious about life on land and away from the sea. He wants to know more yet is fearful. La Frond is solid in the role, the right mixture of bravado and caution with often funny results.

            Valerie Westgate is the female seas creature, Sarah. She too longs for more, feeling life has passed her by and she feels that going on land will somehow help alleviate that. She too is somewhat cautious but longs to know more. She is delightful in the role, sincere and funny as she struggles through this new adventure.

            Susan Bowen Powers is Charlie’s wife, Nancy. Nancy is tired of life to this point and at one point considered divorcing her husband Charlie. She encourages him to reconnect with his childhood happiness. In the end she is resentful that the “good life” they lived has limited her. She craves new experiences while Charlie wants only to rest. This is the weakest performance in the production. At times she seems too bland and unemotional, a bit distant and not connected. She does have some moments with seems seem to hit the mark but they are few and far between.

            Ed Shea directs with confidence and finesse and makes solid use of the in the round format.

It runs through Feb. 5 at the theatre, located at 28 Market St., Warren. Tickets are $25 and $35. For more information, go to 2ndstorytheatre.com or call (401) 247-4200.

“The Mountaintop” at Trinity Rep

By Richard Pacheco

            The Katori Hall play about the last evening of Martin Luther King’s life at Trinity arrives right on time to honor the man who changed the face of America. It has him holed up in a hotel room with an irreverent angel masquerading as a maid. The resulting meeting is both funny and at times touching. It gets off to a slow start but gains momentum and power.

            The first act is mostly King bantering with the angel, as they smoke cigarettes and drink alcohol as they chat and flirt with each other. At first she is merely the maid who brings him some alcohol and cigarettes but it evolves into her revealing her true name and position, not Camae the maid but the angel of death. She is there to prepare him for what is to come tomorrow, his death.

            The play veers from robust comedy to emotionally moving segments which reveal character and ad depth. It shifts from the naturalistic beginning with the emphasis of Camae as a maid into the more imaginative aspects of the spiritual. Leaving behind the mundane world of room 306 at the Lorraine Motel in Memphis where King spent his last night live.

        

    Joe Wilson is Martin Luther King is a vivid, riveting performance that remains with you. He is vulnerable and powerful, by twists and turns between a man with a dream and a man with all too visible flaws like his weakness for women. He has many fine moments in this play and takes advantage of them all. At one point when he discovers that Camae is an angel is powerful as he tries to grasp what it means and why she is there with him. He manages to get her to let him talk to God on the phone, after Camae calls God’s cell phone, which leaves him perplexed, not knowing what it is. King discovers that God is a black woman, it totally surprises and confuses him and it is hilarious and touching at the same time.

            Mia Ellis is Camae a woman who is sultry and seductive as well as smart and savvy. She is part enigma, part temptation. When she reveals parts of her life before becoming the angel of death is at times comic at other times moving. Ellis is poised with sexual energy and sass, wild and ready to roar. She has an air to her that is delightful, a mixture of sober reality and inviting dreaminess.

            The chemistry between the two of them is winning, hot and serious simultaneously.

            Kent Gash directs with a sure touch that is vibrant and invigorating. He brings them together with dexterity and conviction and it shows throughout.

            This is a dynamic production filled with treasures, gems of performances that reverberate challenge and excite. While there are flaws in the play, there are also many good things and it is the breathtaking performances that make it all worth it. Hall manages to find a man with flaws and doubts getting ready to face his earthly end with humor and courage.

"The Mountaintop" Trinity Repertory Company, 201 Washington St., Providence. Through Feb. 12, Tickets: $25 to $71, Info: (401) 351-4242, trinityrep.com

“The Children’s Hour” at the Gamm Theatre

By Richard Pacheco

            Lillian Hellman was one of the most significant women playwrights in American History. This work, “The Children’s Hour,”  proved to be quite scandalous in 1934 when it was first produced, but seems tame and somewhat dated in contemporary times. It is a drama set in an all-girls boarding school run by two women, Karen Wright and Martha Dobie. An angry student, Mary Tilford, runs away from the school and to avoid being sent back she tells her grandmother that the two headmistresses are having a lesbian affair. The accusation proceeds to gather momentum and bring with it hoards of tragic implications and consequences

each step growing more serious and disastrous for all concerned, particularly the two women. While the underlying issues are the effects of lies and ever increasing devastation it brings without any supporting evidence, there is still the overtone of lesbianism that makes it seem dated. At the same time the rampant intolerance seems most appropriate to today’s headlines and political intolerance, which is so widespread today to absurd proportions,

            The Gamm production suffers from some performances that are not on the mark and also the directing at times misses getting the full emotional impact from the play

            Madeleine Lambert is Karen Wright, one of the owners of the school. She is engaged and this accusation has an impact on that as well as her livelihood. She delivers a poised performance, honest and with emotional impact.

            Karen Carpenter is Martha Dobie, the other school owner. She seems to take a while to connect with her business partner, too distant and unaffected by almost anything until the end. Yet there the impact is dulled due to a lack of build up emotionally.

            Grace Viveiros is Mary an extremely difficult child with a penchant for herself out of trouble, willing to go to extremes, no matter what the cost or devastation. She is manipulative, devious and unscrupulous to the endth degree. She delivers and intense and powerful performance of sheer evil and manipulation.

            Casey Seymour Kim as the somewhat distracted and offbeat aunt Lily is at times too spastic and seems more just out of control ridiculous and a caricature.

            Wendy Overly as Mrs. Tilford a wealthy and powerful woman who loves to meddle to suit her tastes and beliefs. She enjoys showing of her influence and power. Overly is not exactly on target, seeming a bit distant and emotionally flat.

            Benjamin Grills as Dr. Cardin is somewhat stiff and at times unconvincing. His crying later in the play is too false and unbelievable.

            Director Rachel Walshe cannot quite seem to get the play to deliver the kind of emotional impact it should with the horrific climax. It seems stilted, falling short of the emotional mark.

            "The Children's Hour" runs through Feb. 12 at the Sandra Feinstein-Gamm Theatre, 172 Exchange St., Pawtucket. Tickets are $44-$52. Call (401) 723-4266, or visit gammtheatre.org.