“Doubt” at Ocean State

By Richard Pacheco

            John Patrick Shanley’s “Doubt” is a haunting and provocative play set in 1964 at a Catholic Church under the cloud of potential sexual misconduct. The production is riveting and powerful with a rich resonance the echoes throughout with excellent directing and staunch and memorable performances. It is all about uncertainty and how unlikely it is to ever know the truth.

            The Pulitzer Prize, Tony Award winning play is riveting as it deals with uncertainty and moving to judgment with little or no proof. This is the attracting of the play, which deals not in certainties but rather uncertainties and suspicions.

            Donna Sorbello is the fierce, relentless and doubting Sister Aloysius who was marred before entering the order. She is deeply jealous of Father Flynn’s efforts to help ht only black boy in the school who is under pressure and doesn’t feel like it fits in while the priest tries to help him, inspire him and comfort him to the dismay of the nun. Sorbello is pitch perfect as the determined nun with dark visions of misconduct.

            Greg London is Father Flynn a genuinely caring priest who opens his heart to the young boy to help him fit into the school. He has an easy going demeanor that is inviting and pleasant and Leonard deftly conveys the compassion in the priest and his dislike of the nun’s harshness and relentless spirit. He is more the embodiment of the church’s spirit and attitude than she is.

            Caitlin Davies is the young Sister James. She loves teaching and her student and is very kind to them, often inviting Sister Aloysius’ anger and disapproval. There is an innocence and genuine charm to her openness and kindness. Davies handles it all with skill and finesse, delivering a convincing portrait.

           he final member of this superb cast is Lovely Hoffman as black altar boy’s mother who admires Father Flynn and appreciates his the attention he shows her son, who suffers enough from his father with beatings and disapproval. It is a stunning performance albeit brief and when she confronts Sister Aloysius about the allegations about her son and the priest it is powerful and riveting.

            Artistic director Aimee Turner delivers her best directing job on a comedy or drama to date. She evokes, provokes the best from her actors with skill and finesse.

            Erik D. Diaz’s set is superb. Simply stunning as it adroitly evokes not only the church, but Sister Aloysius’ office and outside in the garden with an attention to detail and imagination.

            Add all these elements together and you have a winning production that resonates with sincerity and rich subtleties.

            “Doubt” runs through Nov. 20 at Ocean State Theater, 1245 Jefferson Blvd., Warwick. Tickets are $24-$39. Call (401) 921-6800, or visit oceanstatetheatre.org.

“Appropriate” at Trinity Rep

By Richard Pacheco

            Branden Jacobs-Jenkins play “Appropriate” is furiously funny and disturbing at the same time, a riveting piece of theater deftly performed by a strong cast. It is a massively dysfunctional family in full tilt, full speed ahead spare no energy. It is a rambunctious free for all with no holds barred as this family gets together to settle the property of their dead father and end up unearthing some dark secrets long hidden and perhaps best kept hidden.

           

This three-hour extravaganza rampages along like a runaway train barreling through anything or anyone in its path. The first hour is a blood fest of hurled insults anti Semitic jibes that makes the current presidential race almost look tame. The family is inexorably drawn into the past and their dead father’s apparent sins, which come to light and their own failings and inept relationships with each other. All sorts of hidden racism rises to the surface like lava from a volcano, oozing everywhere. Digging through the trash the family finds more trash and embarrassing moments from their past. There are remnants which appear in photos.

            There is no real revelation about the dead old man thought, more mere speculation and intriguing dark corners to his life kept hidden until now.

            There are some winning performances here throughout.  Phyllis Kay is an angry and bitter divorce, the sister Toni, who both regrets and resents sacrificing her life to taking care of the ailing dad and her alcoholic and drug addicted brother Frank. She can be merciless going after anything or anyone in her sights including Frank’s equally hippy fiancé 23 year old River. Kay is often hilarious as in the scene where she is totally drunk and even more merciless with her well-aimed barbs. Kay delivers an impeccable performance that is a delight to watch.

            Fred Sullivan Jr. as Beauregarde is the epitome of a southern gentleman at a loss and out of touch

with both his past and his father’s. He is robust and passionate in the role.

            Mauro Hantman is on target as the drug addled, and recovering drunk Frank (Francois) who is a totally mess but underneath appears to be kind, just out of touch and a kind of hippie. He seems to have little clue about how he has impacted other san kept his distance from the family and his past failings and there are many. It is a sharp and polished performance with many fine touches.

Angela Brazil is Beauregarde’s Jewish wife, the brunt of many anti Semitic verbal attacks from the other family members, often merciless. Her patience eventually dissipates under the relentless onslaught and she turns tail and attacks them back with rare viscous humor in a biting on target monologue where she rips the in laws to shreds.

Marina Morrisey is  Franks’ flower child like girlfriend River, who is a bit oblivious to the world around her and the people and atmosphere she finds herself drgeed in without warning or proper preparation. She is often innocent eyed and massively out of touch, convinced of her own vision ins spite of what she sees in front of her. It is an excellent performance, right on the mark.

The rest of the cast,Alec J. Weinberg as Rhys, Emeline Easton as Cassidy, Ronin W. Scott as Ainsley are all terrific.

Director Brian Mertes keeps is all moving despite its length and keeps his eye on the offbeat and the bizarre which he emphasizes. The set by Sara Brown emphasizes the dark, at times creepy decaying atmosphere of the dilapidated plantation with flair and style. Only the gauzy like screen that comes down between scenes is a bit annoying.

Yet for all its nearly rabid and pointed dialogue the family never really comes to terms with wither what their father did or even many of the things they did over the years.

It is well worth seeing for a hilarious and provocative play that is well acted and written.

"Appropriate" runs through Nov. 6 at Trinity Rep, 201 Washington St., Providence. Tickets are $25-$71. Call (401) 351-4242, or visit trinityrep.com.

           

“Billy Elliot” at Ocean State Theatre

By Richard Pacheco

           “Billy Elliot” was a huge Broadway hit garnering 12 Tony wins and the production at Ocean State is winning highlighting a star turn for the talented 12-year-old Matthew Dean who has some dazzling moments in dance in this somewhat long show.

It is a musical based 2000 film “Billy Elliot”. The music is by Elton John, and the book and lyrics are by Lee Hall, who wrote the film's screenplay. The plot revolves around motherless Billy, who trades boxing gloves for ballet shoes. The story of his personal struggle and fulfillment are balanced against a counter-story of family and community strife caused by the UK miners' strike (1984–1985) in County Durham, in North Eastern England. Hall's screenplay was inspired in part by A. J. Cronin's 1935 novel about a miners' strike, “The Stars Look Down”, to which the musical's opening song pays homage.

There seems to be a split on focus between the gritty miner’s stroke and Billy’s disparate efforts to become a professional ballet dancer. The mixture of these two diverse things at times doesn’t quite gel into a complete and polished whole. Aimee Turner who directs doesn’t always manage to get that kind of melding of contradictory elements that might indeed be part the issue with the musical itself. One of the issues is one moment he ids unhappily in boxing class and then very shortly after that he is a stunning dancer. It seems an almost effortless transformation.

Michael Dean is a deft and talented dancer, full of finesse and capturing some wonderful dance moments. His mother owns a dance school in California. He has played the role before and will play it again in Phoenix. His voice is usually capable but not as outstanding as his dancing.

Christopher Swan plays his Dad with conviction and passion. He sings and impressive “Deep Into the Ground” in the second act.

Sarah Polen is Billy’s oddball grandma, a ball of energy and not all that stable with her family. She is a ball of energy with style and finesse.

Shannon Lee Jones is Billy’s dance teacher who takes a dedicated interest in helping the boy pursue his dreams.  While she is convincing in her dedication to Billy, she is not as convincing as a dancer or carrying herself as a dancer. Dancers have a certain poise and carriage which she does not show.

Tony Weisinger is Billy’s best friend who is fond of wearing dresses and kisses on the check. The character seems a bit muddled and not well defined.

Melissa Mc Kamie  as well as serving in the company does a turn as Billy’s dead mum. She shines in “The Letter.”

The choreography for Billy is often impressive and downright stunning. For the rest it is rather ordinary and pedestrian. The musical direction by John Jay Espino is usually right on the mark.

While the show won ten Tonys, it has some severe lapses in melding together the desperate elements of the miner’s stroke and Billy’s ambition. It is very long, about three hours and enjoyable enough with those considerations in mind.

"Billy Elliot" runs through Oct. 23 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Tickets are $39-$59. Call (401) 921-6800, or visit oceanstatetheatre.org.

“Arcadia” at The Gamm Theater

By Richard Pacheco

           

“Beowulf – A Thousand Years of Baggage” at Trinity Rep

By Richard Pacheco

            Trinity Rep opens its season with the ribald and sassy rock musical based on a classic poem, “Beowulf.” “Beowulf A Thousand Years of Baggage” is rollicking delights with its cheeky take on the classic tale, which it takes on with vigor, irreverence and excellent performances across the boards. There is much to delight here.

            It opens with three academics apparently dryly discussing “Beowulf” which is very funny. They are stilted and awkwardly stuffy. Then almost immediately it all transforms as they begin to examine “Beowulf.”

            So our legendary hero is off to Denmark to slay the dragon Grendel who is wreaking havoc on King Hrothgar” kingdom. Beowulf is not the brightest bulb, but he is not lacking in sheer testosterone and chutzpah. Beowulf does not only slay Grendel, but Grendel’s mother as well. In the midst of their discussion, enter Beowulf, armed and ready to fight to the death. It becomes a rollicking merry ride after that, mixing the story with the commentators with deft skill and wacky humor.

            Charlie Thurston is Beowulf, full of passion and ready for action, but not too smart. He prances about with a black leather kilt wearing an American flag for a cape. Thurston is terrific in the role, full of energy, great comic timing and a solid voice for when he rocks the house. After he kills Grendel, they hold up a Mission Accomplished sign that seems like the perfect touch.

            Stephen Berenson is Academic One and Grendel. He handles the nick picky academic with skill and his Grendel is amusing and imposing as he appears with a towering body puppet that makes him seem at least 12 feet tall. It doesn’t matter whoever since Beowulf rips off his arm which results in Grendel dying in front of his mother.

            Anne Scurria is Academic number Two and Grendel’s mother. She is very funny as the academic, at times comically stilted and stuffy at other times just hilarious as Grendel’s mother.

            The final member of the academic trio is Janice Duclos who is Academic Three and the Dragon.  She too is on the mark as the fussy academic and a delight as the dragon who threatens Beowulf later on in life.

            Of course we cannot forget the delightful performance by Joe Wilson Jr. as Hrothgar, decked out in a silver sequined jacket and singing up a storm.

            This musical is solid and sheer fun and madcap mixture of rocking songs and delightful comedy throughout. The concept is the kind of thing that can either be a totally disaster or terrific. This result is terrific all the way.

            The warriors are played by women with orange hair and add so much to the musical with their flair, dancing and finesse.

            Rachel Warren as one of the warriors nails her singing with style and passion.

            The songs here are not the kind you’ll be humming for days after, but they really rock and fit the story really well.  The book and lyrics by Jason Craig and the music by Dave Malloy are passionate and rock with raw energy.

            Artistic Director Curt Columbus directs with just the right touch, full of energy and driving passion. The musical direction by Michael Price is right on the mark and flawless. The puppet design by Shoshanna Utchenik is imaginative and fun.

"Beowulf: A Thousand Years of Baggage" runs through Oct. 9 at Trinity Rep, 201 Washington St. Tickets are $25-$71. Call (401) 351-4242, or visit trinityrep.com.

           

“The Sunshine Boys” at 2nd Story Theater

By Richard Pacheco

            Neil Simon’s Broadway hit and hit movie “The Sunshine Boys” is brought vividly to life with a terrific cast and direction at 2^nd Story Theatre in Warren. It is packed with typical Neil Simon humor and propelled by the terrific paring of Bob Colonna and F. William Oakes as the former vaudevillians teaming up for a big network television show on CBS as a tribute to legends of comedy like themselves.

            During their 43-year career as a team, Lewis (Oakes) and Clark (Colonna) there was a seething animosity growing until they called it quits as a team about 12 or 13 years prior to the reunion. They have not spoken since. This reunion is not all hearts and flowers as those hidden anger and disappointments surge to the surface. Oakes and Colonna are perfect as the team struggling to get back in step with their old act. It is Willie’s nephew, Ben (Nicholas Thibeault) who is also his agent who brings it all together.

            Bob Colonna is a delight as the feisty, somewhat crank and determined Willie. He harbors years of unexpressed resentments that finally surge to the surface. For a long time he has not worked  and the question is will he let those past hurts get in the way or just go along with it to be back on top again. Colonna is a sheer delight with impeccable comic timing and a wizened humor that is always on target. He handles the one liners with zest and perfection.

            F. William Oakes is his longtime partner and many times nemesis, the man who ends up spitting in his partner’s face with  words that engender spit and is always close up when he does it. He is also the man who pokes Willie when close to him trying to make a point. It drives Willie crazy. He is also the man cares deeply about Willie and what they accomplished and misses it and would love to revive it. Oakes is the perfect foil for Colonna. He is impeccable as the somewhat fussy and proper Al.

            Oakes and Colonna are a sheer delight together. Always right on the mark in this winning comedy. The laser target the jokes and tired routines and bring them vividly to life with comic dexterity and aplomb.

            There is strong support here too like from Nicholas Thibeault as Willie’s nephew Ben, Thibeualt is pitch perfect as Ben who looks up to his uncle and usually gives in to his whims like bringing him forbidden cigars when he brings the copy of Variety. He holds his uncle in high regards even thought the old man drives him crazy with his quirks and demands. Lauren Ustaszewski as the voluptuous nurse in their skit is hilarious, making the most of very opportunity the play it up right.

            Some of the funniest moments occur when Willie and Al meet again after so many years. The rapport between the two is evident as well as flare ups with it the old animosities for even more laughs. He jokes come fast and furious and right on target.

Ed Shea directs with a perfect touch. He has a talented cast and heads them off in the right direction with just the right touches.

The scenic and lighting design by Max Ponticelli is right on the mark.

This is a fun summer caper, sure to please with impeccable performances and laughs galore. Enjoy it and you will.

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

“Avenue Q” at Ocean State Theatre

By Richard Pacheco

            “Avenue Q” at Ocean State Theatre is a real gem, loaded with sass, ribald energy and a terrific cast. Imagine Sesame Street on horny, raunchy steroids and you’ve got it. It is funny and irreverent as it tackles looking for your purpose in life. This is the musical that swiped the Tony from “Wicked” in 2003 and you can see why. It’s all done with puppets and a talented cast of adults in the obscure wilds of New York city.

            It circles around Princeton a recent graduate with a BA in English who finds himself embroiled in too many bills, ending up jobless before he even starts work and his wannabe romance with Kate Monster a real sweetie who want to start a school for monsters. Of course Princeton is trying to escape the clutches of Lucy the Slut and the Bad Idea Bears always ready to lead them into temptation and beyond with no resistance whatsoever.

The songs are outrageous and fun and tackled a variety of issues with a smart and rambunctious attitude that is endearing in the midst of its bawdy verve and full of truth in the middle of it all.

Tommy Labonaris is a delight as Princeton the novice gradate with and English degree and also as Rod, a conservative Republican who finally realizes he is gay. He has a terrific voice and shines in his songs. With the company he is terrific in “What Do You Do with a BA in English.” The same with the insightful and funny “Purpose” His duet with Kate Monster “A Mix Tape” is pure fun as it delves into the mixed feelings of a budding romance. As Rod he is equally impressive with songs like “My Girlfriend, Who Lives in Canada”

Rochelle Weinrauch is on hand for both of his loves, the sweet, kind Kate Monster and the sultry tramp and vamp Lucy the Slut. She has a wonderful singing voice full of power and sensitivity. Her duet with Princeton is a enchanting, full of conflicting emotions and sincerity. As Lucy she is an equal delight, at once sultry, sexy and sluttish. She shows it  all off to its best with “Special.”

Then there is the wonderful Lovely Hoffman as Gary Coleman, yes, that Gary Coleman who is the superintendent of the building. She is  wining in her duet with Nicky, “Schadenfreunde.”

The rest of the cast is just as winning and fun, the amusing mix of outrageous and very human and down to earth in the mist of their trials and tribulations.

Jason Parrish directs it all with deft energy and ability.

Tyler Perry’s set is a successful mimicry of Sesame Street for adults. Justin P. Cowan’s musical direction is full of spunk and irreverence sparked by some fabulous voices.

Choreographer MK Lawson keeps it all spirited and full of fun.

You really don’t want to miss this one for a rollicking good time at once ribald and impertinent.

“Avenue Q" runs through Aug. 21 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Tickets are $39-$59. Call (401) 921-6800, or visit oceanstatetheatre.org..