“Macbeth” at the Gamm Theatre

By Richard Pacheco

            “Macbeth” at the Gamm Theatre is a wonderful, intelligent, intense production. The Gamm knows how to do Shakespeare and does so at its very best in this production which is marked by superb performances and intelligent staging. Director Fred Sullivan Jr. delivers a superb staging and evokes terrific performances for the entire cast. The production lingers in the mind and haunts. The setting could be World War I, with rifles and Marilyn Salvatore’s simple trench coats, but Sullivan has not overdone the period

look.

          

  Tony Estrella is the vain and victorious Macbeth who is obsessed with the witches’ prediction that he will not only become Thane, but king. But Macbeth’s succumbing to his passion and ambition at all costs gets hi impetus from the conniving of his wife, played by Jeanine Kane. They are remarkable together in their nefarious, conniving treachery. Estrella is wide eyed as he plunges into the dark caverns of his limitless ambition, propelled forward by his ruthless wife’s machinations. This is a danse macabre of death and the downfall of destruction by unbridled ambition.

Estrella has true finesse with Shakespeare, knowing how to get the most out of the lines with daring and sincerity. He delivers a masterful performance that is haunting and piercing.

Kane is excellent and the conniving Lady Macbeth, a cauldron of seething ambition for her husband in his quest to fulfill the prophecy and become king no matter what dastardly deeds he must perform to make it all happen. She is chilling in her cold blooded machinations, without heart or care. She is a kind of Lucretia Borgia in her deadliness and relentless pursuit of her political ambitions. Until guilt and remorse overtake her and erode her neat, if nefarious little world view.

The deadly little dance they perform to commit murder and advance Macbeth’s ill fated career is ruthless and compelling, dark and inviting into their murderous little world.

There are a couple of new faces from the Boston area who stand out. Michael Forden Walker is excellent as Banquo, who is at first Macbeth’s close aide and later turns against him. Jordan Ahnquist is outstanding as Malcolm, son of the murdered King Duncan.

Steve Kidd is Macduff, who plays it all in understated calm which is effective until he learns of the murder of his wife and children and then grids on his resolve to see things through.

Richard Donelly, another Gamm veteran, plays King Duncan with grace, dignity and presence.  He is a king of integrity and grandeur.  He later returns as Old Seward.

The three witches are wonderfully done by Wendy Overly, Alec Thibodeau, and Rachel Dulude. The rest of the large cast is top notch. Yung Bedros Kevorkian is excellent as Macduff’s son.

Fred Sullivan Jr. direction is able, accessible and full of finesse and fine touches. It makes this an enjoyable production on so many levels. It leaves a distinct and vivid impression. This is Shakespeare at it best, and if you love Shakespeare or have never seen it, take the time to see this one. It is well worth it. It is relentless and merciless, like watching a fatal accident occur and it holds you transfixed throughout.

The Patrick Lynch set design is simple and effective with minimal touches, no more than is needed to make it all work.

“Macbeth” runs through April 13 at the Sandra Feinstein-Gamm Theatre, 172 Exchange St., Pawtucket. Tickets are $38-48. Call (401) 723-4266, or visit gammtheatre.org.

“The Diary of Anne Frank” at Ocean State Theatre

by Richard Pacheco

            “The Diary of Anne Frank” at Ocean State Theatre is a fascinating and compelling production with solid performances and direction. The play is a dramatization by Frances Goodrich and Albert Hackett, and opened at the Cort Theatre on Broadway on October 5, 1955. The play received the Tony Award for Best Play and was also nominated for Best Actress (Susan Strasberg), Best Scenic Design (Boris Aronson), Best Costume Design (Helene Pons), Best Director (Garson Kanin). The play also received the Pulitzer Prize for Drama for Albert Hackett and Frances Goodrich. Susan Strasberg won the 1956 Theatre World Award. The play also received the 1956 New York Drama Critics Circle award for best play. In manuscript, Anne Frank's original diaries are written over three extant volumes. The first covers the period between 14 June 1942 and 6 December 1942. Since the second volume begins on 22 December 1943 and ends on 17 April 1944, it is assumed that the original volume or volumes between December 1942 and December 1943 were lost—presumably after the arrest, when the hiding place was emptied on Nazi instructions. However, this missing period is covered in the version Anne rewrote for preservation. The third existing notebook contains entries from 17 April 1944 to 1 August 1944, when Anne wrote for the last time before her arrest. Anne Frank's story has become symbolic of the scale of Nazi atrocities during the war, a stark example of Jewish persecution under Adolf Hitler, and a dire warning of the consequences of persecution.

            The group hides in the sealed off upper rooms of Mr. Frank’s offices in Amsterdam. The rooms were concealed behind a hidden bookcase.

            Olivia Gesualdi makes her professional acting debut with this role at OSTC. She is pert and sassy as the young woman who receives the dairy as a gift from her father on her 13^th birthday. It is an auspicious debut done with vitality and honesty, moving and funny by turns.

            Mark S. Cartier is excellent as her father, Otto Frank, with a keen ear for accent and a sense of dignity and genuine concern for others as a man caught up in a difficult circumstance with his family during trying times. Cartier brings a sweep of humanity and compassion to the role which is impressive.

Karen Gail Kessler is Anne’s mother, Edith Frank, a woman who does not fully understand her daughter’s ways and opinions but loves her very much. Kessler is confident as the mother, delivering a deftly nuanced performance and an excellent accent throughout.

Margot Frank is Anne’s older sister. Margot is pretty, smart, emotional, and everyone’s favorite.

Ethan Paolini is Mr. Van Daan who worked with Mr. Frank and helped him out when he first came to Amsterdam. The father of the family that hides in the annex along with the Franks and who had worked with Otto Frank as an herbal specialist in Amsterdam. he is intelligent, opinionated, pragmatic, and somewhat egotistical. Mr. van Daan is temperamental, speaks his mind openly, and is not afraid to cause friction, especially with his wife, with whom he fights frequently and openly Paonlini is right on the mark as Van Daan

His wife, Mrs. van Daan is at first a friendly, teasing woman, but later an instigator. She is a fatalist and can be petty, egotistical, flirtatious, stingy, and disagreeable. Elise Arsenault plays her with flair and fire, making the most of her often nasty nature and petty attitude with her penchant for things over people.

Peter van Daan is the teenage son of the van Daans, He can be obnoxious, lazy, and hypersensitive, but later they become close friends. Peter is quiet, timid, honest, and sweet to Anne, but he does not share her strong convictions. Brian Roque plays Peter with an ease and confidence that makes him appealing.

Albert Dussel is a dentist and an acquaintance of the Franks who hides with them in the annex. He is particularly difficult to deal with because he shares a room with Anne, and she suffers the brunt of his odd personal hygiene habits, pedantic lectures, and controlling tendencies. Tommy Labanris plays Dussel with skill and poise, making the most of his foibles in a well defined performance.

Sarah Pierce is Miep, who helps hide them. Rudy Sanda is Mr. Kraler who also helps hide them and bring them information and food. They round out the large cast with zest and energy.

            Aimee Turner directs the production as it moves along with sincerity and conviction under her sure hand. The only thing awry in it is the occasionally fluctuating accents of some of the actors who slip in and out of the accents. Scenic designer Amanda R. Hall offers a superb set of the attic, rich in detail and effectiveness. Costume designer Jessie Darrell-Jarbadan offers excellent period piece costumes with skill and finesse.

            It is an excellent production well worth seeing despite the issues with accents.

            It continues at Ocean  State Theatre (March 26 – April 13)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

“The Waverly Gallery” at Theatre One

By Richard Pacheco

            “The Waverly Gallery” currently at Theatre One in Middleboro is a solid production that is well acted and well directed. It was nominated for the 2001 Pulitzer Prize and its writer, Kenneth Lonergan  is well known for works like the screenplay of “Analyze This” and “Gangs of New York.” The play is a kind of memoru play based on his grandmother’s Greenwich Village Gallery. The play explores her fight to retain her independence and the subsequent effect of her decline on her family, especially her grandson. Inspired by Lonergan's own grandmother, it's an ode to an extraordinary woman, and to the humor and strength of a family in crisis. The family members who agonize over Gladys's retreat from reality are themselves given to lesser versions of what they deplore in her: repeating the same questions and phrases, disputing past events, forgetting names and places, following trains of thought that derail into non sequiturs and dead ends.
            Gladys, a former lawyer with a vital social conscience and a passion for entertaining who now runs a small, unfashionable art gallery in Greenwich Village. Susan Wing Markson is Gladys, the grandmother who struggle valiantly against the ravages of Alzheimer’s and dementia, slowly but surely eroding her memory and her ability to be present without losing track of her conversations.  It is a sad slow disintegration with more than its share of humorous moments interspersed throughout. Markson handles it with flair and finesse, making Gladys believable and funny even in her sad declining abilities. ''The Waverly Gallery,'' is used to indicate an inextinguishable will inside a decaying mind.
            Christopher Cartier makes his acting debut as grandson Daniel Reed with Theatre One with this play and an auspicious debut it is. Daniel loves his grandmother very much and is at a loss to watch her slowly slip away from the family into her own little world. While he loves her, he is also frustrated by her and her condition such as when she shows up at his apartment in the middle of the night, not once, but multiple times. He frames the evening's vignettes with lyrical retrospective monologues.
            Jane Cartier is Ellen Fine, Daniel’s mother and Gladys’ daughter, who finds herself caught up in her mother’s failing health and the toll it takes on the entire family and is at a loss at what to do. Cartier is fine as Ellen and deftly conveys her frustration and affection for her mother, the confusion as to what to do next for the best of all concerned.
            Ken Carberry is Howard Fine, Elle’s husband, basically a nice guy who is at a loss at confronting the deteriorating mental condition that afflicts Gladys. Carberry is pleasant and amiable in the role, very likeable.

The final member of the cast in the artist from out of town, a man with an eye for details in his paintings such as the one of his sister’s wheelchair, but not exactly abundant in the talent category, but a nice guy none the less who takes on Gladys like she is his family. John Marzelli is the painter Don Bowman. Marzelli is likeable and amiable in the role, sincere and convincing as the artist from Massachusetts who desire a show in an NYC gallery as his ticket to success.
It is directed with intelligence and sensitivity by Peg Suarman Holzemer. She keeps everything sincere and truthful.
            The play is both funny and sad. It’s a strong yet likeable cast. At times however I found it a bit repetitive in dialogue. Yet for the strong performances and direction, it is well worth seeing.
            It will be presented again by Theatre One at the Alley Theatre in Middleboro 133 Center Street Middleboro. March 29, April 3, 4, 5 at 7:30pm Sunday  March 30 April 6 at 2pm.  Tickets at the Door “Cash Only” Students & Seniors $15 Gen $18 Food Donations for the COA Senior Food Pantry accepted at all Performances. Info 1-617-840-1490

 

 

“Twelve Angry Men” at Your Theatre

By Richard Pacheco

            Your Theatre’s current production of the 1967 film classic, “Twelve Angry Men” is simply superb. Intense, vibrant, electric and well acted it sizzles with conflict and intelligence. The large ensemble cast is rich with energy and nuance, with the characters well define and articulate.
            “12 Angry Men” is a 1957 American drama film adapted from a teleplay of the same name by Reginald Rose. Written and produced by Rose himself and directed by Sidney Lumet, this trial film tells the story of a jury made up of 12 men as they deliberate the guilt or acquittal of a defendant on the basis of reasonable doubt. In the United States, a verdict in most criminal trials by jury must be unanimous. Staged in a 1964 London production, the Broadway debut came 50 years before the CBS aired the play on October 28, 2004, by the Roundabout Theatre Company at the American Airlines Theatre, where it ran for 328 performances.

This rich and complex play is must see theater, vividly acted and brought to life with energy and conviction by a talented cast

Wade Martin is juror number 8, the role played by Henry Fonda in the movie, the juror with doubts, reasonable doubts about the prosecution’s entire case and meticulously and effectively takes it apart piece by piece much to the chagrin of the other jurors. He is reasonable and articulate, calm and effective throughout, making his points with self control and intelligence as he presents alternatives to the crime, shooting holes in the evidence.  It is a stunning performance, controlled and sincere throughout, very effective.

Tony Oliva is juror 1, the foreman of the jury. He is thoughtful, precise and in control of the gamut of emotions which ravage the jury room in the deliberations. He brings a sense of homey order to all of it.

Roland Dube is the quiet banker, juror number 2. He is meek and sincere, very genuine. Dube gives an excellent performance, with just the right nuance.

Chuck Doherty is the outspoken juror number 3, a man with seething temper and tons of outspoken opinions which are emotionally based. He hates his son and sees the defendant in that light, echoing  King Lear, “how shaper than a serpent’s’ tooth it is to have a thankless child.”

Eric Paradis, as Juror No. 4, the stockbroker, a man who  is confident, self assured and analyzes everything in front of him in detail. It is a strong performance, very precise and articulate.

Brian Costa is Juror No. 5, a young man who grew up in city slums and can empathize with the young defendant.  It is a solid, emotional performance, full of nuance.

Roger Duarte is Juror No. 6, a house painter and down to earth kind of guy.  It is an impressive, consistent performance. Bob Goodwin is Juror No. 7, a slick and sometimes obnoxious salesman who would have done anything to avoid jury duty. He is consistently loud and insulting to everyone. It is an admirable performance.

Juror No. 9 is soft spoken, played by Al Vitale, a man who is meek and mild, he is the first to agree with Juror #8, deciding that there is not enough evidence to sentence the young man to death.  It is a confident and self assured performance with just the right touches throughout.

Juror No. 10 is expertly played by Frank Mitchell, as an obnoxious bigot who rants and rages on with no stop yakking.  Tommy Whalen makes an impressive stage debut as Juror No. 11 a watchmaker from Europe and a naturalized American citizen, who loves his new country. Michael McGill is the annoying advertising executive with a full range of expressions that are often very comic in a winning performance.

To round out that cast is Dennis J. Smith as the court officer and William C. Smith as the Clerk’s voice. A nice touch to the production is the voice of the judge at the beginning who outlines the charges and gives them the legal information they need is none other than actor, playwright and New Bedford Judge Raymond J. Veary Jr.

Director Bob Gillet delivers and imaginative, intelligent highly effective staging of theatre in the round. It is excellent direction, right on the mark and evoking the best out of the actors consistently and continually. The set and period costumes by Mark P Fuller are very effective and work well.

            A nice touch to the production is the voice of the judge at the beginning who outlines the charges and gives them the legal information they need is none other than actor, playwright and New Bedford Judge Raymond J. Veary Jr..

            "Twelve Angry Men" continues at Your Theatre, 136 Rivet Street (corner of County), through March 30. Tickets are $15. For reservations call 508-993-0772 or visit boxoffice@yourtheatre.org.

“Oliver” at Trinity Rep

By Richard Pacheco

Trinity Reps current production of “Oliver” is sheer delight, robust, sensitive, filled with strong singing and  snappy dance numbers. is a British musical, with music and lyrics by Lionel Bart. The musical is based upon the novel “Oliver Twist” by Charles Dickens.
            It premièred in the West End in 1960, enjoying a long run, a successful Broadway production in 1963 and further tours and revivals. It was made into a musical film in 1968. Major London revivals played from 1977–80, 1994–98 and again from 2008–11. It was nominate for multiple Tony awards in both its original Broadway debut and with a revival in 1963 and again in 1984. It was also nominated for Olivier Awards in London in revivals in 1994 and 2008.
            The production is sheer fun from beginning to end. It opens in the workhouse where the orphaned Oliver Twist lives since his dying mother left him there. At one point, Oliver musters the courage to ask for more food.  The request son incenses Mr. Bumble who runs the workhouse that he decides to sell Oliver to an undertaker. When someone insults Oliver’s dead mother, he begins to pummel him. Mr. Bumble is sent for Oliver is forced to run away and ends up in London where he meets the Artful Dodger who introduces him to the clandestine clan of young criminals under the tutelage of Fagin. Oliver is completely unaware of any criminality, and believes that the boys make handkerchiefs rather than steal them.
            The next day, Oliver meets Nancy, the girlfriend of the infamous Bill Sykes, a burglar who abuses her. When Oliver goes out with the Artful Dodger to pick pocket and unsuspecting wealthily man, Mr. Brownlow, Oliver is caught and blamed for picking the pocket. When it is straightened out Oliver ends up going home with Mr. Brownlow. Nancy and Bill bring him back to Fagin’s den. In remorse, Nancy visits Mr. Brownlow and vows to bring Oliver to him later. That is when all goes awry.
         

   Phineas Peters, who’s played Tiny Tim a couple of times in recent years, is a plucky Oliver, the orphan boy who falls in with Fagin and the Artful Dodger.  He has a winning stage presence and sings with confidence and dances with ease.
            14-year-old Noah Parets was terrific as the Artful Dodger the young pickpocket. He sings with finesse and energy and dances with style and flair.
            Rachael Warren, who plays Nancy, Bill Sykes’ long-suffering girlfriend, sings marvelously and with great feeling, particularly in the mournful “As Long As He Needs Me.” Or she sings with gusto and vigor in “Oom-Pah, Pah.”
            Boston-area actor Timothy John Smith is the dark and dangerous Bill Sykes. He plays the role with a gritty nastiness that is ominous and chilling. He is brutal. When he sings “My Name” it is chilling and ominous. This is no man to be trifled with by anyone at any time.
            Stephen Berenson, who is a masterful Fagin, the crafty crook who teaches boys the art of picking pockets. Berenson is treat as Fagin.  He makes the character large and amusing throughout without fail. He sings skillfully. He is pure comic delight in singing “Reviewing the Situation.”
            Tom Gleadow’s Mr. Bumble and Anne Scurria’s coy Mrs. Corney, are sheer delight. The couple run the workhouse where Oliver grew up.  They have some very funny moments in the first act in a little dance of attraction between the two of them, back and forth until she ends up in his lap and they later end up married, very unhappily.
            There are tons of talented kids in the show who sing and dance up a storm with energetic abandon and yet discipline. They shine particular in “Food Glorious Food” and “Consider Yourself.”
            The return of husband and wife team Richard and Sharon Jenkins harkens back to the days of Adrian Hall. Richard Jenkins, the Oscar-nominated film actor, led Trinity in the early 1990s, which was the last time he directed a show. Her choreography is charming and entrancing, full of fun and packed with oomph.           
           Its gritty and grimy, the darker side of Dickens and London in the recycled Christmas Carol set. It is also very intimate. The singers and dancers here are top notch. It is full of rich theatrical moments and even though Jenkins has left behind for the most part stage work acing so much in film, he has not lost his touch in being able to deliver top notch stage direction as he does here.
            They got a well deserved standing ovation at the end. You won’t want to miss it for a wonderful musical treat.
            “Oliver!” runs through March 30 at Trinity Rep, 201 Washington St., Providence. Tickets are $28-$72. Call (401) 351-4242, or visit trinityrep.com.

“Intimate Apparel” at Trinity Rep

by Richard Pacheco

            The play had its world premiere at Center Stage on February 2, 2003. Directed by Kate Whoriskey, the cast featured Shane Williams (Esther), Brenda Pressley (Mrs. Dickson), Kevin Jackson (George Armstrong) and Sue Cremin (Mrs. VanBuren). It next ran at the South Coast Repertory from April 11, 2003 through May 18, 2003 directed by Whoriskey and with the same Center Stage cast.

The play made its New York debut off-Broadway at the Roundabout Theatre, running from March 17, 2004 to June 6, 2004. Directed by Daniel J. Sullivan, it featured Viola Davis (Esther), Lynda Gravatt (Mrs. Dickson), and Corey Stoll (Mr. Marks).

The play won the 2004 Steinberg New Play Award, presented by The American Theatre Critics Association to "outstanding new plays produced around the United States, outside of New York City”. Nottage, a Pulitzer Prize-winning playwright, based the exquisitely written  “Intimate Apparel” on her own family's history – in particular her great-grandmother's experiences as a seamstress in New York at the end of the 19^th century- It is her brilliant attention to characterization and narrative that makes this pal shine and gives its wonderful actors so much to work with.
            The story centers on Esther Mills (Mia Ellis), an African-American woman living in New York City at the turn of the 19^th century where she works as a highly skilled seamstress of the kinds of garments of the title for a wide range of clients, the wealthy to saloon singers. Esther might have dreams of marriage, but she is down to earth and a practical woman and does not believe in fairy tales.
            She is thirty five and knows that avenue in her life is limited at best so she strives to save her money for her dream to own an elegant beauty parlor for black women. She has a single mindedness that is impressive, but gets distracted with a warm and friendly correspondence, long distance with a laborer in Panama working on the Panama Canal, George Armstrong. As the warmth and attraction grows so do the possible side effects of it.
            Ellis is wonderful in the role, full of sensitivity and nuance, delivering a vivid and vivacious performance. This is her first year as a resident actress at Trinity and this performance establishes her talent and abilities beyond doubt. She deftly captures the mixture of insecurities in that Esther cannot read and write, giving it a richness and sincerity that is compelling. It is a rich and stunning performance on many levels.
            Joe Wilson Jr. is equally stunning as her “Panama Man” delivering a varied and sensitive performance, full of nuance. Throughout the first act, he shows up through the letters they write to each other and comes into the scene in the second act, becoming more that a voice at the end of the letters. When the long awaited George steps into her life for real, some things are different than she expected. All that is revealed in their body language when they first meet revealing, a difference between the gentleman of the letters and the flesh and blood man at her side.
            The other characters in this brilliant ensemble shine as well. Nottage described Intimate Apparel as "a meditation on loneliness," and each of the play’s characters underscores that vividly and distinctly. It ends up a rich and varied interplay between their interactions with Esther, depending on their race, social status and their expectations built on those criteria.
            Angela Brazil plays Mrs. Van Buren, Esther's wealthy, high-profile client. She considers Esther more than mere seamstress, but more confidant and friend, something unique for a Fifth Avenue socialite and upper crust of New York Society. Brazil is sheer delight in the role, garnering many laughs along the way with her antics and actions as well as her words.
            Another character who develops a deepening attachment to Esther is  Mr. Marks (Mauro Hantman) a Romanian-born Jewish man. Marks is a soft spoken, eminently polite and well mannered fabrics seller. He is sweet, humble and respectful in all his dealings with Esther. They have an easy rapport and warm companionship within a business context and it is obvious their rapport is not merely professional. They are vey attached to each other even though it is unspoken. Hantman delivers a skillful performance as Marks, full of bittersweet poignancy and sincerity.
            Barbara Meek, always wonderful and delightful, opens the show as Mrs. Dickson, Esther's motherly-if-meddling landlady. She has some of the funniest lines in the show and always is on the mark with flair and finesse.
            Shelley Fort, a second-year student in the Brown/Trinity Rep MFA acting program and keeps up with the fine company she keeps in this play as the brassy and brazen fallen woman, Mayme. Mayme  has tons of unfulfilled and never will be fulfilled dreams and hopes. She has deep hurt and quick witted humor and fast tongue. There is a scene in the second act between her and Ellis that is emotionally powerful and intense where they both shine with extraordinary proficiency and emotional depth.
            “Intimate Apparel” is directed by TRC's own Janice Duclos who handles her superb cast with depth and fine distinction throughout.
            Patrick Lynch designed an elegant multiple set piece for the play which creates several small, intimate spaces with distinct touches. From the rich array of fabrics for Mark’s shop to the boudoir of Mrs. Van Buren and the period piece furniture, all come vividly to life and create and handsome and effective atmosphere.
            Photo projections on the high walls also offer the audience the sights and sounds of New York City, 1905. John Ambrosone's lighting design establishes a dreamy, romantic tone for Esther and George's first innocent flirtations through the mail correspondence.
            It plays Trinity Repertory Company's downstairs Dowling Theater through March 2, 2014. Tickets are available online at www.trinityrep.com, by phone (401) 351-4242, or by visiting the box office at 201 Washington Street, Providence, RI. Ticket prices range from $28-$68

“Laughter on the 23rd Floor” at Ocean State Theatre

by Richard Pacheco

            “Laughter on the 23^rd Floor” currently at Ocean State Theatre is a wildly funny and merry romp into the world of television in the 1950’s into a hit comedy show. A terrific ensemble cast sparks this vividly to life with loads of  laughter and some great comic timing. It is hilarious, a real treat. Inspired by Simon's early career experience as a junior writer (along with his brother Danny) for “Your Show of Shows,” the play focuses on Sid Caesar-like Max Prince, the star of a weekly comedy-variety show circa 1953, and his staff, including Simon's alter-ego Lucas Brickman, who maintains a running commentary on the writing, fighting, and wacky antics which take place in the writers' room. Max has an ongoing battle with NBC executives, who fear his humor is too sophisticated for Middle America.

            The work is a roman à clef, with the characters in the play based on Neil Simon's co-writers on “Your Show Of Shows” The real-life inspirations: the Sid Caesar-inspired Max Prince", hypochondriac Ira, inspired by Mel Brooks, dryly witty, sane Kenny, inspired by Larry Gelbart and Carl Reiner, and "fussy Russian émigré” inspired by Mel Tolkin and Carol, inspired by Lucille Kalle.

The show is mart and funny—and I trouble with the network. First, the network wants to cut it to an hour from 90 minutes. Then the bosses insist that they trim the budget by firing one of the writers. By the time of the 1953 Christmas party, the situation has deteriorated. (And although Sid Caesar and many of his writers went on to other series, “Your Show of Shows” ran only from 1950 to 1954.)  As Kenny says, “Maybe we’ll never have this much fun again in our entire lives.”

Max, the Sid Caesar character is more than a little bit nuts. At times he is stark raving, but very funny when he is. The fabulous Fred Sullivan Jr., a longtime member of  the Trinity Rep acting company delivers yet another tour de force performance as the wacky Max. he has a volatile energy and remarkable stage presence. He is a real treat in the role. Max is a tortured genius, very funny but truly nutty and eccentric in so many ways. This is Sullivan’s debut on the Ocean State Theatre stage and a wining one it is.

Matt DaSilva is Lucas, the Simon alter ego in the play. Lucas is uncertain, a novice with desire and talent but not yet full of self confidence yet. DaSilva handle it all with likeable flair and finesse.

Jean-Pierre Ferragamo as Milt also stands out in this wonderful cast. He has a keen sense of coming timing and a great sense of physical comedy, both of which he delivers with skill and expertise.

Tommy Labanaris as Ira.a writer who is extreme hypochondriac and perpetually late for work for a variety of heath reasons. Lananaris also shines in the role. He is adept at physical comedy and quick with the one liners as well.  He is a delight and delvers the laughs

Aimee  Turner, the producing artistic director of Ocean State makes her stage debut with the theatre here and shines as the sole female writer on the show, Carol.

The rest of the strong cast consists of Mark S. Cartier as Val, Tyler Fish as Kenny and Tom Andrew as Brian. While they are not as distinct as characters as the other writers, these actors shine in their roles, adding to the hectic , frenetic and very funny atmosphere.

Director Brad Van Grack keeps this merry romp always on track, full of witty interchange and physical comedy. It is his directorial debut with the company and an auspicious one it it.

The set by Kimberly V. Powers is excellent and really captures the 1950’s New York office flavor. The costumes by Brian Horton are also period perfect and effective.

The terrific cast has a great time throughout it all and it is contagious to the audience was well. They got a well deserved standing ovation at the end.

“Laughter on the 23^rd Floor”  Jan. 29 – Feb. 16

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800