Anne Boleyn at The Gamm

By Richard Pacheco

           

            The Gamm Theater presents a vivid and entrancing production of the U.S. Premiere of British playwright Howard Brenton’s ”Anne Boleyn.” This play shimmers with political intrigue and deception. In this play, the ends to justify the means. The Gamm last presented one of Brenton’s plays, “Paul” in 2011. This play is an often funny take on Henry VIII’s uppity and politically manipulative wife, Anne Boleyn.

            While some might find this romp in Tudor history long winded and difficult at a two hour plus production, it is usually full of political intrigue and some funny moments. Those who love English history or are aficionados of various British programs like “The Tudors” will be entranced.

            Playwright Brenton is little known here in America.  In his homeland of England he is known for his satirical, provocative and often scathing indictments of sacred cows. This play presents Anne Boelyn as a conniving, religious minded and determined woman. She is often uppity and not very likeable. In the play he speculates that Boleyn gains further fire to end Henry VIII’s marriage to Catherine of Aragon. Her imagined meetings with Protestant leader William Tyndale add fuel to the fire. It inevitably leads to the separation of England from the Catholic Pope and the Church of England becoming a Protestant church. The play also adds James I, the only son of Mary Queen of Scots, into the mix as he speculates and looks back on Anne’s life.

            It is a strong cast which propels this play forward. There is a rich sense of time and politics that is impressive and appealing.

Madeleine Lambert shines in her Gamm Theatre debut as Anne. She is energetic, acerbic, taut and tart in her attitude and language. Anne knows what she wants and is willing to go to any extreme to achieve it. Anne boldly teases Henry, but does not allow him any sex for years. Anne wants to be queen, not mere mistress. It is a winning performance of a not always very likable character. Anne has dark motivations and a condescending attitude towards others. Yet Ms. Lambert also manages to show another, more playful side that is more entrancing and endearing.

Steve Kidd is a delight as Henry VIII. Kidd convincingly conveys the king’s dilemma. He is caught in his quest for a male heir. Should he succumb to his lust for Anne in the hopes of a male heir? Or should he maintain his loyalty towards his wife Catherine? It leaves him in an ethical dilemma. Henry wriggles and squirms in a true test of conscience in the face of overwhelming lust. Henry is robust and self assured as king, less so as a man in the face of a resolute and stubborn Anne who resists his sexual advances,

Jim O’Brien is smooth and poised as Thomas Cromwell. Cromwell is a superlative politician always lurking behind the scene, ready to changes horses in mid stream if it suits his purpose best. Cromwell is a superlative political manipulator always eager to advance his own position at anyone else’s expense.

Tom Gleadow is balanced and effective as Cardinal Wolsey. Wolsey is more politician than true cleric and connives with relentless efficiency. In the other roles he plays, he is balanced and on target.

Joe Short who is Tyndale and James I cohort, George Villiers is efficient and bright in the roles. He handles Tyndale with a religious fervor and cold personal distance that is effective. He handles the George role with flair and some foppishness as befits the character.

One of the great delights in this production is artistic director Tony Estrella as the eccentric and flamboyant James I. He has an excellent Scottish accent. He delivers and wild and wooly comic performance that is pure delight.  James I is a ribald and eccentric king willful and self indulgent. It is a real gem of a performance, both vivid and fun.

Sam Babbit is wonderful as Robert Cecil, an advisor to James I. Cecil is an experienced man who knows his way around politics and how to make the most of any situation.  He tolerates the often madcap behavior of his king with patience and common sense.

The rest of the large cast is effective and efficient. There is much texture and background details to this play. It springs vividly to life. It reveals the darker side of politics and the degree to which some will go to accomplish their political goals ignoring the growing casualties along the way.

Director Rachel Walshe handles it all with a keen eye and firm hand. She keeps the pacing up, even though the nature of the play can sometimes be slow. She moves her cast with finesse and elegance without losing track of emotional impact.

Jessica Hill’s set is simple and effective.  David T. Howard costume designs are elegant and faithful to the period.

            They have extended the run through Feb. 24. Tickets are $36 and $45, depending on the day and time. For tickets, call the box office at 401-723-4266 or gammtheatre.org

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Crime and Punishment at Trinity Rep

By Richard Pacheco

           

            “Crime and Punishment” is a classic Russian novel brought vividly to life on stage with an adaptation by Trinity Repertory’s artistic director Curt Columbus in conjunction with Marilyn Campbell. When it was written ten years ago, it was originally supposed to be a large scale cast, now deftly paired down to three actors who play all necessary roles in a 90 minute production. This compelling tale looks at an ex-student, Raskolnikov who wants to succeed and be remembered, while filled with self doubt and rage. He struggles to create a theory, that extraordinary men are not bound by the rules and laws of the ordinary man. And therein lays his dilemma, for what appears fine in theory, ends up far less satisfying and with incredible consequences when attempted in real life.

            Raskolnikov’s heroic figure and role model and the man whom he connects with is Napoleon and he writes a paper in which the touts the ability of extraordinary men to go beyond the norm, not hampered by rules or laws which bind the ordinary man. For him, it ends up with the murder of a mean spirited pawn broker and by accident and circumstance, her pleasant, friendly half-sister. Can he escape the burden of guilt and the relentless pursuit of the police who are closing in even though someone else has confessed to the murder? In a gripping guilt he confesses to Sonia who tries to convince him to confess to the police, but he resists.

           Stephen Thorne is winning as the tormented Raskolnikov. He is convincing and articulate as the man burdened with his own evil deeds, yet in spite of himself trying to transcend  being ordinary. He plans to kill the pawnbroker and use her money to do good deeds to make up for his evil actions. He is sensitive and articulate, always honest and sincere.

            Dan Butler plays Profiry, the police detective and many others. As the detective he is sly and intelligent, a dogged pursuer of criminals. While he has no evidence of Raskolnikov’s guilt he grows increasingly convinced the ex-student is indeed the murderer. Mr. Butler is breathtaking as the detective in a polished and energetic performance that is revealing and persuasive. He also plays Sonia’s drunken father with skill and flair, at once energetic and convincing.

            Rachel Christopher is Sonia and other characters. As Sonia, she is the epitome of innocence dragged into prostitution to support her family. She has a conscience and shares Raskolnikov’s feelings of shame and humiliation. Her performance is deft and persuasive. As the greedy pawnbroker she is cruel and greedy, full of contempt for her customers and relentless in her quest for more money at any cost. As her sister she is warm and vulnerable. As Raskolnikov’s mother she is caring and direct.

            This play has considerable humor which emerges frequently at sometimes unexpected moments. Using only three actors, the fluid production shifts back and forth from one moment to the other, and one site to another. The clever set adds so much to the production with its video monitors and cameras set up throughout. The play eschews historical fidelity in favor of creating a stark even more oppressive setting with technology. The splendid cast creates a vivid and remarkable world.

            Director Brian Mertes keeps everything moving right along, at once dreamy and very effective. It is a mixture of stark and startling, always nightmare like and riveting with surprising touches of humor in broad doses throughout.

            Eugene Lee’s set design is a wonder, combining elements of historic decay with modern touches like the video monitors and cameras. It creates a fluid, ever-changing atmosphere where the action unfolds.

Olivera Gajic’s costume designs are effective and direct, simple and to the point.

The sound design by Broken Chord adds an distinctive element to the production. The lighting design by Dan Scully enhances the faraway, nightmarish mood.

This production soars with passion and mutability.  It constantly moves and shifts not only between locations, but characters with smoothness and vigor. It is intelligent and passionate. It sizzles and soars into gripping theater.

It will be presented at It will be presented at Trinity Repertory at the downstairs Lederer Theater Center until Feb. 24. For tickets, call the box office at 401-351-4242. Adult ticket prices for Crime and Punishment are $36-$70. Children’s tickets (age 2-14) start at $22. For information on group discounts for parties of 20 or more contact Group Sales at 401-351-4242 or online at online at: http://www.trinityrep.com

The How and the Why at Trinity Rep

By Richard Pacheco

Trinity Rep’s most recent offering is the Sarah Treem play, “The How and the Why.” There are only two characters in the play. Ms. Treem also wrote and was occasional supervising producer for HBO’s “In Treatment” This play features two brilliant women with different takes on a controversial theory regarding female evolution, the women are from two different generations. The women are at times acerbic and witty, very intellectual and often totally at odds with each other both scientifically and personally. The verbal fencing can sometimes be intense and provocative.

Trinity Rep veteran Anne Scurria as the professor, Zelda and  Barrie Kreinik and the student, Rachel often battle it out with vigor and venom through twists and turns in both their theoretical positions and their personal relationship.

Ms. Scurria is Dr.Kahn, a leading expert in the field of evolutionary biology and Ms. Kreinik is an equally brilliant younger woman on the verge of releasing her own novel and controversial groundbreaking theory. They share a deep intensity about female biology and also some dark secrets.

The play is a mixture of science and passion, often gone awry with unexpected consequences. The two women battle about the impact of menopause on evolution with drollness and conviction.

Ms. Scurria is excellent as Zelda Kahn. During the first act, which takes place in her office she is icy, but poised. She is a woman who has seen many battles, won some, lost some and there have been definite impacts on her personal life. She is smart and courteous while welcoming the newcomer who wants to speak at the scientific convention where she is on the board.

Her attempts at being friendly and personal often fall short and Ms. Scurria handles it with skill and confidence, balancing a desire to be personable with the assurance of long achievement and surviving all of her longtime battles. As the play evolves she exposes a more human side that makes her more appealing. Ms. Scurria is elegant and complex in the role, handling all the emotional demands and nuances with dexterity and honesty.

Ms. Kreinik is the passionate and ambitious Rachel who is not very experienced in the scientific world or for that matter life issues. She is determined and intelligent, downright dogged at times with a bit of tunnel vision. She does not react well to criticism and can often be defensive. She is a mish mash of emotions with intellectual theory. However the character seems to be a bit self-absorbed and immature, not truly aware of what it takes to compete at a world class level and its possible sacrifices. She seems to want it to be easy—one shot and that is it to firmly and irrevocably establish her career. She seems to ready to toss it all away at the first sign of serious criticism. Ms. Krenik is intense and passionate in the role and deftly able to handle the witty interchanges with skill and conviction and the emotional shifts with sincerity.  While the acting is impressive the character seems to leave something to be desired.

One of the twists in this which adds so much to the meeting is that they are mother and daughter and the child was given up for adoption when she was six days old. This is the first time they have met since then. It brings whole other elements into the mix of the meeting and a deeper resonance to not only their intellectual discussions, but their personal interactions as well.

It is directed by Shana Gozansky, a Brown/Trinity Rep MFA graduate as will be Ms. Kreinik in 2013.  She keeps the pacing for the most part right on course and moving along except for a couple of spots where it slows down in the science debate due to the script.

The set design by Tilly Grimes is simple and clever. The office is cluttered and imposing and the bar/restaurant empty and stark, both very effective.

Olivera Gajic’s costumes capture the difference between the now established Zelda and the upstart Rachel.

It is the performances which make this play enticing.

The production continues to Dec. 30 at Trinity Repertory.  Call 401-351-4242 or go to www.trinityrep.com Tickets are $28-$68.

Lost in Yonkers at Second Story Theatre

By Richard Pacheco

“Lost in Yonkers” is considered by many to be Neil Simon’s best play. It opened in 1991 on Broadway where it ran for 780 performances. It walked off with the season’s major awards winning the Pulitzer, Outer Critic’s Circle Award, Dram Desk Award and the Tony. The current production at Second Story shows you why. This fine production is propelled by laugh and drama, both skillfully performed with finesse and style.

In the Summer of 1942 widower Eddie Kurnitz must leave his two sons with his domineering mother while he pursues work in the south to pay off a loan shark for the money he borrowed to help their now dead mother battle cancer. In the household is the childlike Aunt Bella and Uncle Louie, a small time hood on the run. The play deftly mixes Simon touches of humor with heartwarming and touching drama.

Matthew Pirraglia is the younger son, Artie. Andrew Jacovelli is the older son, Jay. Mr. Pirraglia is feisty and fun as the younger son, intimidated by his stern grandmother and at odds with the situation he finds himself living in daily. He is perky and energetic. It is a solid performance that is fun to watch. He has a solid sense of comic timing.

Mr. Jacovelli is a delight as the cocky, smart mouthed older brother Jay. He is very protective of his younger brother but finds it tough in the madhouse where he finds himself living.  Mr. Jacovelli shows a fine comic sense and offers some great expressions while the madness unfolds around him.

Paula Faber is relentless steel as Grandma. She is a survivor who managed to get her family out of Germany before Hitler turned it all to hell. She is stern and harsh, determined to teach her children and grandchildren to survey at all costs. Ms. Faber is pitch perfect in the role with her German accent and harsh ways. She is not a woman to bestow love on anyone.

Hillary Parker is a enchantment as the childlike Bella. She has a fine comic timing and a real flair in her performance. She is alternately ditzy and people smart. Ms. Parker is full of energy with a witty flair for the funny. She has some great lines and delivers them with aplomb and impeccable timing.

Ara Boghigian is your macho tough guy, a Humphrey Bogart incarnate as Uncle Louie. He is on the run, perhaps for his life and manages to slide back into their lives and bond with his nephews. He talks the talk with that gruff, macho demeanor with skill and vitality.

Joe Henderson is the father Eddie. He is torn and tortured having to leaves his sons with his iron mother without kindness. But he does what has to be done. He is sensitive and trying to be strong for his sons.  Mr. Henderson is adroit as she shifts back and forth from the strong to the sensitive.

Rounding out the cast is Tray Gearing as Aunt Ger, who has a funny way of talking, sometimes with breath going out, other times with breath going in. The result is very funny. Ms. Gearing is sheer glee as the aunt. 

Director Mark Peckham shows a real feel for the material. He skillfully guides his cast through delicate balance of humor and drama with real flair and elegance.

Trevor Elliot’s set design is a wonder, with period touches that are winning. The stairs to the rear and the multiple doors work really well. The flavor is definitely the forties and reminds me of my grandmother’s home.

Marcia Zammarelli’s costumes are true to the time and appealing. Things like knickers for Artie and the gangster get up with spats and  fedora for the gangster uncle are right on target.

This is a wacky dysfunctional family that is prepared for laughs and deep feelings by turns. They draw you into their world like a welcome guest and you enjoy the invitation.  This is Simon at his best with vibrant performances to bring it all to life.

It will be presented at Second Story Theatre, 28 Market Street, Warren, RI until December 16, Tickets are$25 and under 21 for $20. 401-247-4200 or http://www.2ndstorytheatre.com/tixfaq.htm

A Christmas Carol at Trinity Repertory

By Richard Pacheco

A Christmas Carol at Trinity Repertory

By Richard Pacheco

You can always tell when the Christmas season approaches. It all used to start with the Macy’s Thanksgiving Day parade. And in theater, there is always the perennial Dickens “A Christmas Carol” or David Sedaris’ “Santaland Diaries”. Trinity Repertory brings vividly to life the Dickens classic with verve, imagination and a sheer abundance of talent which shines throughout. This production is pure fun, rollicking, creative and well acted.  It is the 200^th birthday year of Dickens.

Timothy Crowe shines as Ebenezer Scrooge, the cranky, crotchety skinflint who evolves into a kind, generous human being after being visited by several ghosts, including his departed business partner, Jacob Marley. Mr. Crowe is a joy as Scrooge. He is robust, articulate and funny as well as fun.  His transition from skinflint to generous patron of the poor and supporter of Christmas from the master of humbug is full of marvelous moments. He has done the role 15 times to date.

Stephen Thorne delivers a enthralling and charming performance as Jacob Marley. He offers many fine touches both as the dying Marley (in this version he does not start off already dead) with Scrooge and as the returning ominous ghost who comes out from beneath Scrooge’s bed.

Mauro Hantman is pure fun as Bob Cratchit, the devoted father of Tiny Tim and Christmas devotee. He is nervous around his boss, but the scene at Tiny Tim’s grave is not as powerful as it could be.

Leicester London is on the mark as Scrooge’s nephew Fred. He is animated and full of verve as Fred. He is also imposing as the ominous Ghost of Christmas Future, a tall, dark creature with glowing red eyes who moves slowly and methodically.

Mia Ellis is winning as the Ghost of Christmas Past with a captivating entrance on a trapeze which descends from the ceiling in a grand way. She is deftly poised and pleasurable in the role.

The Ghost of Christmas Present is given multiple duty with Benjamin Thornton and Elliot Peters and Joe Wilson Jr. with a fake beard as Christmas Present ages a bit, and they are sheer enjoyment, full of liveliness. It starts with a younger Christmas Present who ages as time passes into an older version of himself.

Tom Gleadow is captivating as the reader who starts off the entire adventure. He opens the show when the children, who work for him polishing shoes and they do so around the audience prior to the show, plead with him to tell them a story. He tells them the story of Scrooge’s change of nature. The children are feisty and full of life, with solid singing voices and perky energy. Phineas Peters who alternates with Bedros Kevorkian on different nights is enchanting as Tiny Tim.

The rest of the large cast is full of zest and energy. The singing by the cast is swarming with vim and vigor, full of fine distinction. The original music by Richard Cumming is captivating and endearing and punctuates it at various times. The play does not have many special effects, the trapeze descent of Christmas Past, some snow, Marley emerging from beneath Scrooge’s bed and the video sections with the clock face are about it. The floor opens and closes for various scenes.  There is nothing really dark and brooding about this production unlike some in the past. There are no real frightening  moments with the ghosts and it is all kept lighter, breezier. It is a straightforward and relatively simple production fairly faithful to the original story.

This adaptation by Adrian Hall and Richard Cumming is amusing and enjoyable.

Director Tyler Dobrowsky keeps the pacing swift and bright, avoding darker moments, a rollicking good time for all ages.

The Eugene Lee set is both simple and stylish. It has two stories and on the upper level is a large clock face, a sort of Big Ben, which figures well into the tale. It is a battered board façade which is not that much like London in the 1840’s but seems to work none the less.

The costume designs by Alison Walker Carrier are stunning, both historically faithful and dazzling.

This is a merry romp full of pleasurable moments and robust energy. It is a wonderful holiday treat that is a pleasant trip, not at all scary. It will be presented at Trinity Repertory at the upstairs Elizabeth and Malcolm Chase theater until Dec. 29. For tickets, call the box office at 401-351-4242. Adult ticket prices for A Christmas Carol start at Tickets are $36-$70. Children’s tickets (age 2-14) start at $22. For information on group discounts for parties of 20 or more contact Group Sales at 401-351-4242 or online at online at: http://www.trinityrep.com

“Red” at the Gamm Theater

By Richard Pacheco

The Gamm Theater’s current production of John Logan’s Tony Award winning “Red” is relentless, compelling and eminently fascinating. It concerns a fictionalized account of eminent painter Mark Rothko’s attempt to create a space in the Four Seasons Restaurant where viewers could truly interact with his artwork in a contemplative manner. This two person play is propelled by the endearing and masterful performances of Fred Sullivan Jr. as Mark Rothko and Mark Dante Mancini as his assistant. This is extraordinary theater that amuses, provokes and haunts throughout. It grabs hold of you and never lets go as you watch the squirming antics of the depressed, yet funny Rothko and his assistant as they go at it and develop a vibrant relationship between them, part father and son, part mentor and pupil part friends.

              Fred Sullivan Jr. is compelling as Rothko, a man beset by huge doubts and relentless passion for his art and getting it to the viewers in a way that impacts their lives indelibly. Mr. Sullivan’s Rothko is a man who changes like a chameleon, one moment rash, brash and egotistical as well as eccentric to the next, compassionate and insightful.  This is a complex, troubled character that Mr. Sullivan brings vividly to life. It is Mr. Sullivan’s first appearance onstage at the Gamm, but he is a longtime Trinity Rep actor and director at the Gamm,

Marc Dante Mancini is his perfect foil as Ken, his assistant. Ken is a student artist, thrilled to be working with the legendary abstract expressionist painter. This too is a highly complex character, beset by doubts and ambitions, wanting to succeed, yet not wanting to offend his employer. Mr. Mancini creates a fine mixture of student uncertainty and awe with an underlying desire to understand and zealous exploration of the nature of art. It is a deft performance, truthful and energetic.

Mr. Sullivan and Mr. Mancini create a kinetic chemistry onstage between each other. There is so much energy here, intellectual, emotional and artistic that it never fails to enlighten and charm even the midst of enraged outbursts..

Together they do a deft dance of passion and energy, discussing art and life with equal verve and vigor. They are somehow inexorably tied to each other, both repelled and attracted to each other’s intellect and artistic passion. Rothko is the well established mentor, the legend to Ken’s fledgling artist full of hopes and dreams as well as artistic ambition while battling with his difficult and emotional past. Underlying it all is Rothko facing his greatest artistic challenge, murals for the Four Seasons Restaurant in the new Seagram’s Building while being threatened by the emerging new generation of artists coming up to challenge his authority and accomplishments.

“Red” is a vibrant, ardent ride into the meaning between art and its viewer, between an older generation of artists and the one that replaces it and between artist and assistant. As Rothko points out, “first you must respect them, then kill them” when it comes to artists succeeding their predecessors.

The play is also an enthralling and inexorable dialogue about art and those who make art. It is articulate and intelligent, fuelled by energy and sincerity. As Rothko points out in the play, “I am here to stop your heart. I am here to make you think. I am not here to make pretty pictures.” They play makes you think, often breathlessly. It creates a vivid portrait of an artist in the act of art, which drives his life forward.

It is highly memorable and permeates the mind and heart with indelible precision and zest. It is a must see production.

Director Tony Estrella keeps it all flawlessly on track, by turns funny and passionate, full of energy and vigor.

The set by Michael McGarty is rich and a vivid recreation of an artists studio. The Marilyn Salvatore costumes are right on the mark. The light design by David Roy is impeccable.

It will be presented until Dec. 16 at the Gamm Theatre, 172 Exchange Street, Pawtucket, RI. Tickets are $36 to $45 depending on time/day. Discounts for groups of ten or more, seniors and students. Tickets at 401-723-4266 or gammtheatre.org

An Inspector Calls at Second Story Theatre

By Richard Pacheco

               Second Story Theatre delivers a witty and intriguing production of J.B. Priestly’s 
“An Inspector Calls” at the historic Bristol Statehouse, 240 High Street, Bristol.

            The play, set around the First World War time period, just before it, is family gathering and celebration gone sour. The Birling family is together to celebrate their good fortune, full of self congratulations and good cheer. Sheila is getting engaged to the equally wealthy and prominent Gerald Croft. This will be not only a family merger but a business merger. These people are incredibly wealthy, sleek sophisticated and aloof. But beneath this veneer of proper sophistication there is a darker layer of hidden secrets and that is where the mystery lies. All of this becomes clear when a mysterious police inspector arrives to put them through their paces with some devastating questions. A young woman has committed suicide in a most horrible way and the inspector believes he can find some answers here, so far away from that grisly scene.

            The play is packed with relentless twists and turns and the inspector digs deeper into the dead young woman’s past and the people in the room with vigor and mercilessly dedicated to finding the truth. Oddly, the inspector seems to know certain answers before he asks the questions and his manner is not accusatory, but deeply probing.. The result is a witty and delightful mystery with jabs of comedy throughout.

Vince Petronio is a delight as Inspector Goole. He is poised and astute in his relentless and cagey pursuit of the dark secrets he knows lies here.  Mr. Petronio is the perfect calm, cool and collected inspector who knows what he wants and how to best get it.

Tom Roberts is engaging as Arthur Birling, the family patriarch, a man set in his ways and superlative businessman with an every ready eye to the bottom line. Mr. Roberts is determined to protect his family and his business from outside assaults and ready to use any means he has to defend them and prevent scandal at all costs. Mr. Roberts is imposing in the role.

Laura Sorensen is incisive as Sheila Birling, a young woman brought up in sheer luxury and disdain for those others, less privileged than her, who gets to look into her life with astonishing revelations. Ms. Sorensen is highly convincing in her balance between elegance and sincerity.

Tim White is poised and intelligent as Sheila’s fiancé, Gerald Croft.  He is a man beset by personal challenges and dark doubts about a bright future. It is a strong, nuanced performance.

Jeff Church is engaging as the dissolute and hard drinking brother, Eric Birling. Mr. Church is outstanding as the man who while he takes advantage of his advantages his darker thoughts about them at the same time.

Joan Batting is incisive as the family matriarch, Sybil, who knows all too well her status in life and what it takes to protect it. She is aloof and self assured, above it all. She knows she is right, and she is right, facts be dammed.

Valerie Westgate rounds out the cast as the maid, Edna.

It is a well honed performance, with many laughs along the way. There are provocative questions here, which resonate to current day. The cast is right on target with their poise and character twists and turns marked by a sincerity that is endearing and at times surprising or off-putting. It is engaging fun and presented with no intermission, running time one hour and fifteen minutes.

Director Ed Shea keeps a fine balance between the wit and mystery in the play. It is vivid and impressive.

Trevor Elliot’s set is sheer delight, elegant and simple at the same time. Ron Cesario’s costume designs are impeccable, sophisticated  and graceful, faithful to the time period.

It will be presented again at the historic Bristol Statehouse, 240 High Street, Bristol, RI until Dec. 2. Box office 401-247-4200. www.2ndstorytheatre.com Tickets $25, Performances Wed, thru Sun. at 8 pm, except for Sun. which are at 3 pm and 7 pm on different Sundays.