"Social Creatures" at Trinity Rep

By Richard Pacheco

Trinity Repertory’s current production of Jackie Sibblies Drury’s “Social Creatures” is uproarious fun while it tackles a host of social issues from capitalism, to racism to a changing social world order. It oozes dark humor from every minute, sheer delight while it sometimes startles and shocks. Propelled by a terrific cast and wonderful direction it always involves, always delights from first minute to last. It is both intellectual and visceral simply satisfying.

In it, zombies slash vampires roam the streets of Providence while the few remaining survivors huddle inside Trinity Rep for safety. While hell brakes loose outside, the motley collection of survivors struggle to set up a new order in the face of total chaos and a disease that spreads on contact converting humans into sub human creatures who eat human flesh.

The play opens with a hilarious scene as husband and wife Mr. and Mr. Jones try to get the generator working. As the play moves on the other characters in this conclave of survivors appear. Mrs. Smith is distraught over his missing husband and more than a little bit unbalanced. Mr. Wilson is patient, kind and understanding, almost to a fault. Mr. Williams is very possessive of food, particularly what she considers hers. Mr. Johnson has a world weary practicality about him as he faces each new situation and an unmistakable individuality. Mr. Smith is the upper middle class husband MIA, now a wandering zombie. Mr. Brown, is an African American who wanders into the survivors nest and meets with a less than friendly reception.

Alexander Platt is Mr. Jones, a man working on his fourth wife, after losing his soul mate, wife number two. Mr. Platt is delightful as the often cringing, very subservient to his wife husband, struggling to make the most of a bad situation and his wife’s every increasing lust for power and control.

D’Arcy Dersham is wonderful as the frightened, power and control grabbing Mrs. Jones. She grows increasingly uptight and demanding of control the more she feels things are getting out of hand. It is not that she wants to be in charge, she feels someone must do what she is doing and that she is best suited for the task. Ms. Dersham handles the transitions in character from fear to dictatorial power thirst with skill and convincing grace.

Rebecca Gimel is Mrs. Smith, who unstable at best grows increasingly more and more peculiar as time goes by as she continually grows high and her little girl antics grow more disturbing with her feigned innocence. Ms. Gimel delivers a deliciously disturbed performance as she slips further and further into her drugged world and away from her surroundings.

Janice Duclos is Mrs. Wilson, a kind compassionate woman at a loss in the world she finds herself in which is too harsh and too unfair for her tastes and character. Ms. Duclos makes the character very appealing and personable a truly likeable person who struggles with the overbearing injustice she finds around herself. It is a captivating performance.

Nance Williamson is her roommate, Mrs. Williams. Mrs. Williams is brash, outspoken and feisty. She has little tolerance for being bullied  about and believes what is hers is hers, not party of any communal coffer. Ms. Williamson is wonderful in the role totally convincing and honest in her portrayal.

Charlie Thurston is Mr. Smith, a one time upper middle class doting husband, but now a wandering zombie. He appears in Mr. Smith’s hallucinations, having escaped the sanctuary where they all cluster and ventured into the vile and polluted world outside. Mr. Thurston is solid and persuasive in the role.

Timothy Crowe is the practical and very ornery and crotchety Mr. Johnson. He lived with his 95 year old mother before all hell broke loose and is proud of being a Rotarian. Mr. Crowe is flawless as the cranky, down to earth man.

Darien Battle is Mr. Brown, a thirty’s working class guy who thinks he gets along with everyone until he blunders into this little conclave. Mr. Battle is endearing and outstanding as the African American who finds himself subject to immediate prejudice and persecution from the moment of his arrival.

All the actors get a wonderful monologue wherein they go into some of their past and give an insight into who they are now. These are universally winning and excellent.

Director Curt Columbus keeps everything moving merrily along with a keen eye to the dark humor which abounds throughout this terrific play. He evokes the best out of his actors, making it all highly memorable.

Eugene Lee’s set design is wonderful, ably capturing a dreary, dank back area with an isolation booth stuck in the middle. Olivera Gajic’s  costume designs are right on the mark. The Josh Epstein lighting makes it all eerie and ominous right from the first. The sound and video design by Peter Sasha Hurowitz add an extra effective element to the tale.

“Social Creatures” is an offbeat apocalyptic comedy about how we deal with extreme crises and what comes out of our personalities. For some it is a grasping control to try and control a situation out of control and deadly.  For others it is a willingness to go along to keep the peaces. Some drift into madness and irrationality. Others remain eminently practical. Still other hoard food or offer understanding and kindness in the face of ever increasing darkness and danger. And a hapless one blunders into prejudice and discrimination in dire times through no fault of his own. All the whiles this unfolds the humor is raucous, rich and dark, a real treat. “Social Creatures” is a fantastic play brought vividly to life by a strong and vibrant cast. It has the kind of humor you find in films like “Sean of the Dead” or “Zombieland” with a closer look at social mores under stress.

The strong and unusual play, a superb cast, and excellent production values make this a must see. There is one caveat, there is some gore in the second act during a zombie attack.

It will be presented at Trinity Rep from March 14 until April 21. Call 401-351-4243 seven days a week.  Walk up sales are available at the 201 Washington St. box office Tuesday-Sunday 12-8pm. $36-$70. 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 Real Thing at The Gamm

By Richard Pacheco

            The Gamm Theatre’s current production of Tom Stoppard’s “The Real Thing” is vivid and potent, a mixture of the cerebral and the emotional sparked by excellent acting and direction. Stoppard has often been called too cerebral and intellectual, mainly due to his preoccupation with plays which found their inspiration in high art, such as theater and poetry in plays like “Rosencrantz and Guildenstern Are Dead” and “Invention of Love.” In this play Stoppard combines his finesse with the intellectual with an unusual delving into the highly emotional aspect of love and infidelity. It is the story of Henry, a playwright, his wife Charlotte and another couple, Max and Annie. Both Charlotte and Annie are actresses and Max, is an actor. Both marriages are faltering and facing total breakdown and disaster further complicated when Henry and Annie fall in love. The play is a multi award winner, snatching the Tony, Evening Standard and New York Drama Critics awards.

Some critics claim the play is his most autobiographical, but any related events occurred long after the play was written. However, it is his most emotional play with deep emotions buried within clever dialogue.

It is about the dissolution of two marriages and uses a play within a play device to set it all up. The two couples are friends. Henry is married to Charlotte and Max is married to Annie. It seems as the two marriages are falling apart that Henry an Annie are in love. Two years and a bit later shows Henry married to Annie. The repercussions to the earlier infidelity suggest new challenges to face on a variety of fronts for all concerned. Two relationships have crumbled, but will the new one between Henry and Annie survive issues of trust, fidelity and more.

Tony Estrella is dazzling as the writer, Henry. Henry is witty, intellectual and loves words as well as the nature of love and infidelity. Henry is conflicted and uncertain about love, about the real thing. He has lessons to learn about trust and acceptance and goes through a trial by fire. He shifts from the aloof, clever writer early on to a far more human and threatened man later with real fears with finesse and flair. Mr. Estrella shows this with great skill and honesty.

Jeanine Kane is Annie, also an actress, who ends up as Henry’s second wife. She is energetic and heartfelt in the role, very impressive. Annie is a devoted activist on behalf of an imprisoned vandal, Brodie. She also wants to produce Brodie’s horribly written play and entices Henry to come onboard and be a sort of ghostwriter to revive the horrible mess. Ms. Kane is sassy and sophisticated in the role, evolving through many emotions convincingly.

Tom Gleadow is Max, an actor and Annie’s husband when the play opens. He is a likeable fellow, but without the dialogue Henry has written for him onstage, somewhat dull and ordinary, not at all a great wit. Mr. Gleadow handles the role naturalness and conviction, making Max indeed likeable if ordinary.

Marianna Bassham is Charlotte, an actress who starts off married to Henry. She is poised and elegant in the role, able to maintain her dignity in a difficult situation. Her verbal bouts with Henry in the beginning are a delight as they trade barbs.

Marc Dante Mancini is Billy, a young actor who works with Annie on “’Tis a Pity She’s a Whore” in Glasgow. He is intensely attracted to her. Mr. Mancini is accomplished and full of life in the role.

Betsy Rinaldi is Debbie, Henry and Charlotte’s daughter, now grown, much to her father’s dismay. She is bouncy and zestful as the young woman determined to find out about love, much to her father’s growing conern.

Steve Kidd is Brodie, a man imprisoned of an act of civil disobedience when he sets fire to a wreath at a war memorial supposedly in protest of missiles. He is robustly anti intellectual and very down to earth and matter of fact. Mr. Kidd is persuasive as the somewhat hulking, almost brutish Brodie.

While at times the play is too talky, too cerebral, it does get down to guts and the nature of love in large part due to some wonderful performances by the cast. Stoppard can be too clever and witty at the expense of emotion many times but he does manage to effect a balance here where the emotional is given its due. These are strong performances, full of conviction and passion.

Fred Sullivan Jr. direction is precise and effective, drawing the most out of his actors making the most our of the emotional currency as well as the wit.

Patrick Lynch’s set is effective and stylish, with a smaller office area set off to the right cluttered with books, a desk and record player. Amanda Downing Carney’s are simple and effective.

"The Real Thing" runs through April 14 at the Sandra Feinstein Gamm Theatre, 172 Exchange St., Pawtucket. Tickets are $36-$45. Call (401) 723-4266, or visit gammtheatre.org.

One Flew Over the Cuckoo’s Nest at Second Story Theatre

By Richard Pacheco

Second Story Theatre’s production of the Dale Wasserman adaptation of the legendary Ken Kesey novel sparkles with raucous energy and some totally moving moments. It makes it all dazzling and enjoyable with some exceptional performances and fine direction.

The Ken Kesey’s 1962 novel is a classic. Kesey is a link between the Beat Generation and the hippies. Considering himself too young to be a beatnik and too old to be a hippy. The inspiration for the novel came from his experiences working the night shift at the Menlo Park Veteran’s Hospital.  It tells the tale of Randal P. McMurphy, a free spirited rebel who connives to be sent to a mental hospital rather than do time with hard labor at a prison work farm. He soon learns it is a big mistake, one that threatens his very future and happiness. Wasserman’s adaptation was a Tony winner in 2001 for Best Revival. Wasserman also wrote “Man of La Mancha.” He died in 2008 at age 94.

Kirk Douglas played McMurphy in the first stage production on Broadway and was supposed to play the film role, but by the time the film got made he was too old and the role went to Jack Nicholson.

The conflict between McMurphay and the infamous Nurse Ratched is the battle between society and individuality, between conformity and freedom.

            Into this perfectly controlled world comes McMurphy, a wild eyed, outrageous character who is all id, a slave to his whims and pretending to be insane to avoid a sentence for statutory rape. He is like a bomb dropped amidst the obedient patients under the thumb of the malicious, Nurse Ratched. McMurphy antagonizes her from minute one in an ever increasing battle of wills.

Aaron Morris is wonderful as McMurphy. He is the right mixture of mischievous anti establishment rebel and genuine concern for his fellow patients. He delivers a delicious performance, sassy and sympathetic.

Tanya Anderson is perfect as Nurse Ratched, the epitome of the administrative bully. She is the perfect foil for the rambunctious McMurphy. She is pristine, poised and all about control. Ms. Anderson handles it with a coldness and precisions that is impressive and powerful. This is a woman who understands control and knows how to maintain it no matter what the costs to patients.

Jason Quinn plays Chief Bromden, a huge man made to feel small throughout his life. He narrates the goings on and offers some insights that are fascinating. Mr. Quinn is outstanding in the role, capturing the fragility of this mountain of a man and vividly portraying his transformation from a silent hulk into a man aware of his potential.  His monologues are crisp and emotionally potent. McMurphy draws him out of his confined self to make him aware of his options.

Kevin Broccoli is Dale Harding, a timid man who cannot satisfy his big breasted wife and so checked himself in. Broccoli shines in the role. Through McMurphy’s influence, he evolves from a whimpering moaner afraid of his own shadow into someone who stands up for his friends an fellow inmates including the Chief when he needs it most.

Tim White is terrific as the stuttering Billy Babbit, who battles against continual mother issues and her ever looming disapproval. He is tormented and squirms like a fish on a hook to wriggle free. It is a moving and emotionally wrenching performance as he faces his myriad insecurities and fears.

The rest of this splendid cast delvers the same kind of quality and memorable performances. Tom O’Donnell is the ever cranky and irascible Scanlon who fancies himself always ready to blow up the world with his bomb. Bill Oakes is Cheskwick, a loudmouth with more bark than bite until he too evolves under McMurphy’s influences and encouragement. Chris Conti is Martini, who continually talks to his invisible friends about what is for him an ever ensuing war. Jeff Church is a riot as the lobotomized Ruckley who drifts about in a stupor and is a willing participant as a basketball hoop and crucifix as needed in the wedding scene. The party ladies, friends of McMurphy are played by Emily Lewis as the fun loving always ready to have sex Candy and Tray Gearing as her hard drinking party loving friend, Sandra. Alex Duckworth is the spineless wish washy Dr. Spivey. Vince Petronio is the pot smoking laid back aide, Turkle. The timid, mousy Nurse Flynn is played by Amy Thompson.

There are many memorable scenes in the production. The scene where they want to watch the World Series is sheer delight. The party scene is hilarious with its wedding tucked in nicely. The conflicts between McMurphy and Nurse Ratched are powerful, at times raucous, at other times disturbing and moving. The final scene between the Chief and McMurphy is pure power, highly moving and emotional. The cast received a well deserved standing ovation at the end of this wonderful performance. It is memorable for its emotional power and comic finesse.

Director Mark Peckham keeps it all  crisply staged. Despite the large cast, everything flows easily from one point to another with no clutter.

The set and lighting design by Trevor Elliot is impeccable. He ably captures the dreary sameness, the overwhelming confining atmosphere of such an institution with skill and imagination.

It continues at Second Story Theatre March 8 until April 7. Performances Thursdays at 7 pm, Fridays and Saturday’s at 8 pm, Sundays at 3 pm. Tickets are $25, Age 21 and under $20.

Second Story Theatre 28 Market Street, Warren, RI box office 401-247-4200. www.2ndStoryTheatre.com

“Rent” at Ocean State Theatre Company

By Richard Pacheco

            The second show of Ocean State Theatre’s inaugural season is rent which collected multiple prestigious awards when it opened in 1996. It garnered the Pulitzer, The Tony and the Drama Desk Awards. The rock musical with music and lyrics by Jonathan Larson is spirited and energetic, propelled by a vibrant talented cast which shines. It was inspired by Giacomo Puccini’s opera, “La Boheme,” written in 1896. This is Larson’s best known work and he died tragically of an aortic aneurism three weeks before it opened and ten days before his 36^th birthday. The focus here is on some artistic types who struggle and live in Alphabet City in an abandoned building in the East Village while under the gloom and doom of AIDS. It was revolutionary at the time, much like “Hair” or “Jesus Christ Superstar.”

The younger generation at the time was transfixed by it, raising it to almost cult status. Some of Larson’s early musical influences were The Beatles, the Doors, The Who, Elton John, and Billy Joel.

The musical opens with Mark, an aspiring filmmaker, his camera always stuck in his hand, is planning a documentary—without a script— of his friends on Christmas Eve. From there it evolves into the lives and loves of his friends over the next year and the changes they endure as they evolve, some of them funny, some tender and touching.

Dan McInerny is Mark is charming and personable. He has a strong baritone voice and shines in many musical numbers. His duet with his former girlfriend’s lesbian lover, “Tango Maureen” is a comic gem.  The tango they do is hilarious. He shines in songs like his duet with roommate Roger, “Tune Up A” or “Halloween” and “Your Eyes.

Nile Hawver is equally excellent as Roger, an HIV positive musician who hopes to write that one perfect song before he dies. He is s recovering heroin addict and Mark’s roommate. His tenor voice is sheer delight and shines in songs like “one Song Glory,” about his quest for the perfect song. In Act II he reaches that goal when thinks Mimi is dying in the wonderful “Your Eyes.”

Mimi is an HIV positive S & M dancer and heroin junkie who used to date Benjamin Coffin II who now owns the building but used to live there. Nora Fox plays her with energy and poise. She creates a vivid and appealing image of this troubled character. She not only sings well but shows off her dancing skills as equally adept in “Out Tonight.”

Din Griffin is the landlord, a money grubbing devious conniver, Benjamin Coffin III. He wants to turn Alphabet City into a digital paradise and willing to go to any extremes to achieve it from turning off heat and power to sheer intimidation. He has a winning tenor voice which he shows off to good effect in songs like "You’ll See" "Happy New Year B" and "Goodbye Love".

Angel is a drag queen street drummer at the heart of these friends. .Antonio Tillman delivers and totally winning performance, making him the most appealing character in the show. He delivers it all with sass and style, strutting about with a style and brazen presence that is immediately engaging and appealing. He shines in his duet with Collins, “You Okay Honey.” He is simply amazing. His death scene is powerful and gut wrenching.

Damron Russell Armstrong is Collins, who is a computer scientist with AIDS who finds love with Angel. He has a rich baritone voice that is haunting and majestic. His solo an Angle’s funeral "I'll Cover You” is commanding and emotional

The two lesbian characters, Mark’s former girlfriend and her lover are played with zest and sheer comic fun by Kendra Payne and Janet McWilliams. Ms. Payne plays the Harvard educated lawyer as a tough no nonsense woman with little patience with crap from anyone, most particularly her former lover, Mark and her current lover Maureen, the performance artist ( Ms. McWilliams) The duet they have, “Take Me Or Leave Me” is powerful and moving.

Ms. McWillams is wonderful as Maureen. She is funny and full of energy. She really shines in her solo “Over the Moon” where offers a barely hidden attack on Benny with the nursery rhyme “Hey Diddle, Diddle” engaging the audience to join in with moos later in the song. It is outrageous and side-splitting.

The cast is simply amazing, full of verve and passion, extremely talented and they work very well together. It all flows very fluidly, shifting scenes with flair and elegance. The company shines in songs like “Rent,”  “Will I,” “La Vie Boheme,” and “Finale A” and “Finale B.”

In the second act, which opens with the entire cast doing “Seasons of Love,” there is  simply marvelous sequence with a sheet and actors beneath it and some phenomenal lights that turns it all into a magical kaleidoscope of movement and flickering lights with Weston Wilkerson’s amazing lighting. His lighting is excellent not just there, but throughout the show adding whole other dimensions.

Mark finds the inspiration for his film based on Angel’s death and Roger finds his inspiration in Mimi.

Amiee Turner’s direction is skilled and delightful. She keeps everything gliding along from one song to another with smooth movement making good use of the stage, cast and set.

Esther Zabinski’s musical direction is poised and perfect, full of finesse. Everything is richly harmonic and lavishly sung.

Kimberly Powers set is stark and effective, evocative of city buildings in a run down section. You can feel the city grit here, graffiti and all.

The choreography by MK Lawson is splendid, energetic and full of sass.

While for some, “Rent” may still hold up, for me, it seems to have aged, but the terrific cast and production make it well worth the trip at once enchanting and fun.The performances are not to be missed, full of sensitivity and zest.

"Rent" (20 February - 10 March)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

Second Story Theatre’s production of “Amadeus”

By Richard Pacheco

Second Story Theatre’s current production of Peter Shaffer’s “Amadeus” is memorable with sparkling performances and vivacious energy.

The play is set in the court of Austrian Emperor Joseph II where his court composer is Antonio Salieri, with deft social skills and mediocre musical talent. Into Salieri’s world comes Amadeus Mozart, musical genius who is childish, crude and rude socially To make it all worse, Mozart doesn’t care about his social ineptitude. Probably Shaffer’s best known work, he calls it “a fantasia on events in composer Wolfgang Amadeus Mozart’s life.”

The play, which won a Tony for best play in 1980, creates a confrontation between the mediocre Salieri and the genius, Mozart, in a complex, probing investigation of the human psyche and Salieri’s descent into a venomous desire to destroy his hated rival any way he can. Salieri does not merely hate Mozart, but hates God as well for bestowing the effortless brilliance onto Mozart and not him. It is Salieri’s war against God as much as Mozart and it is gripping to watch.

Salieri is suspicious of Mozart’s arrival and quickly develops a dislike for him. In part it is because Mozart has such effortless talent and basically just copies onto paper the music which has already been composed in his head. It is also because Mozart has no public manners and cavorts about like a spoiled child no matter where he is and in anyone’s company. Finally it is a brooding resentment he ends up having. Salieri as a young man pledged himself to God, to be his servant, to serve his fellow man. And here is Mozart, an out of control, self absorbed brat with more musical talent in his fingertip than Salieri has in his entire body. The proof of this is when Salieri has composed a march for Mozart’s arrival and a short time later Mozart turns the frail, silly piece into a variation with depth and richness, with incredible potential. It infuriates Salieri and the game is afoot.

Ed Shea, artistic director of Second Story, is brilliant as Salieri, full of brooding misery and intensity. Yet he has humor. Shea deftly and convincingly conveys the moral contortions Salieri goes through as he moves from pious man to someone overwhelmed with envy and jealousy, determined to destroy his rival.

Andrew Iacovelli is fascinating and forceful as the childish yet brilliant Mozart. Mozart is rude, crude and obnoxious and Iacovelli makes it all vastly entertaining and sheer fun as he cavorts about with reckless abandon and totally disregard for his circumstances in terms of the comments he makes or the actions he performs. Iacovelli is an able foil for Shea.

Valerie Westgate is perky and saucy as Mozart’s wife, Constanze. Constanze is a fun time girl who can be a childish and sexually provocative as Mozart. She and Mozart are often like little children who relish being naughty in front of the adults.

John Michael Richardson is delight as the amusing Emperor Joseph II.  He is flamboyant and funny in the role as the somewhat foppish emperor who sums up his every decision with, “Well, there it is.”

Chris Conte is the solemn and doctrinaire, Prefect of the Imperial Library. He is an ardent Freemason, lover of old music and probably lacking any sense of humor at all. Conte handles is with conviction and style, offering the character’s stiffness with a contained energy—a man under restrictions.

F. William Oakes is Von Strack, a stiff and proper Royal Chamberlain. He is official to the bone and totally humorless. Oakes captures the too proper presence with  restrained composure and rigidity.

David De Almo is Orsini-Rosenberg, a man who is supercilious and the opera director. He is full of personal grandness and slightly pretentious. De Almo handles it with control and ability.

The rest of the cast are efficient and effective.

Director Pat Hegnauer keeps everything moving relentlessly along with zest and finesse.  

Candis Dixon’s set is charm itself. To one side is a large fireplace, very imposing and prominent. At the other side of the stage is a regal looking bed with a crucifix hovering prominently above it. In the center is the main area where a large part of the action takes place with a chair and nearby table with Salieri’s treats. The large window behind and massive doors are very effective.

The only issue I had with the productions was the costumes by Ron Cesario, while many were full of historical accuracy and nuance, some were garish and overly bold, like escapees from glam or glitter rock idols.

The production is a delight and through fine acting it ably captures the intense, if at times secretive (as Mozart does not suspect)  machinations of Salieri as he falls from grace as pious if mediocre man dedicated to God and his fellow man to a man obsessed with his mortal enemy’s destruction for being so talented and chosen by God

It continues until Feb. 24. 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.

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