“Speed the Plow” at Theatre One

by Richard Pacheco

            Theatre One glides into the New Year with David Mamet’s Hollywood satire, “Speed the Plow” recently given a revival in London with Lindsay Lohan as the  secretary.  The Theatre One Production has some rough moments, but recovers to deliver some satisfying performances in Mamet’s not always satisfying play. Newsweek described Speed-the-Plow as "another tone poem by our nation's foremost master of the language of moral epilepsy. When first presented in 1988, it was nominated for a Tony for best play, best direction and best actor.

            The play begins in the office of Bobby Gould, who has recently been promoted to head of production at a major Hollywood studio. It is his job to find scripts to green light to  studio head Richard Ross to be made into movies. Longtime colleague Charlie Fox shows up with a coup, a script that movie star Doug Brown appeared at his house with a script Fox sent him some time before, ready to commit. It is a major feat as Brown usually works with another studio and his participation will mean sure fire financial success for the film and boosts in all associated careers. Gould wants to present this project in person to Ross.

            It all turns around when Fox wants a cup of coffee and enter Gould’s  temp secretary, Karen. Gould tells Fox about a book he has been asked to give a "courtesy read" to, meaning that it is not seriously being considered to be made into a film because the author is "an eastern sissy writer." After she drops off the coffee, Fox, who thinks she is neither a floozy nor a conniving ambitious girl trying to make her way up the Hollywood ladder suggests that Gould try and bed her. Gould offers Karen the chance to take part in the Hollywood process by reading the book and making a recommendation.

            It is then it all goes wildly awry.

            Omer Courcy is Bobby Gould, a man with a big promotion and the ability to green light films to be made and on close terms with the studio head after years of toiling in obscurity. He is on the verge of the biggest break of his life, a total transformation that will make him into a Hollywood player, his longtime dream. He is in the midst of not only potential triumph, but crisis. Courcy captures the longing that Gould has for success and also his conflicting motives with passion and conviction. He can also be uncertain and fragile as he confronts his fears and his desire for success and his sense of emptiness and loss.

            Bobby Genereau is Charlie Fox, longtime friend and colleague of Gould who has a deal of a lifetime drop into his lap when a big time movie star shows up at his house with script he had given him and a timeline on the deal—by ten the next morning.  He is eager to succeed and particularly with this gem that dropped into his lap, at all costs. Genereau is a man excited and moved by loyalty to get this projects working with his longtime colleague. He can be effervescent as he rambles on about what will happen in the midst of this success and dogged about emphasizing his underlying loyalty to his friend in Hollywood, a land that often has no loyalties and no friends in the face of the dollar. He can also show the uncertainty and fear with determination.

            Amanda Hayter is Karen, the temp secretary, new to the ways and wiles of Hollywood, who finds herself with the chance to play in the big time. Is she as naive as she seems, simply caught up in the ever shifting drama of Hollywood moviemaking or is she really a savvy temptress with her own secret agenda. Hayter captures the naiveté of Karen with determination and conviction.  She also deftly evolves into the more sensual and determined siren who has her own agenda.

            The first act, which is mainly between Gould and Fox needs a rapid fire, overlapping staccato to work. There seems to be something slightly off between the two actors, not quite on the mark. While they are deft in their staccato exchange many times, it seems to remain slightly off target, never completely connecting. Near misses. As the play progresses, it all gets more on track and gets more satisfying. The second act is by far more satisfying as things come together and the conflict emerges. This is as much to do with the play as it is with the acting. The second act is stronger than the first when things seem to gel more, hit the mark with more precision and effectiveness.

            It can be fiercely funny and provocative at times and at other times dark and disturbing.

Peg Saurman Holzemer directs and works hard to keep the rhythm and pacing on target. During the first act it fails at various points, moving in and out until it stabilizes and maintains its pacing and focus.

It will be presented at the Alley Theatre Middleboro, MA, 133 Center Street from January 15-25. Call 774-213-5193 for tickets and information. Tickets are $20, and $18 for seniors (65 and older) and students (with ID).

“Meet Me in St. Louis” at Ocean State Theater

by Richard Pacheco

            Ocean State Theater’s holiday treat is “Meet Me in St. Louis” based on the 1944 movie and it is indeed a treat full of nostalgia, vintage Americana and simple good feelings in abundance. It is a purely fun show, a musical delight that evokes fond memories of bygone days. thing, but got some of the biggest laughs of the night.“Meet Me in St. Louis” is based on the 1944 film with Judy Garland and made it to Broadway in this version in the late 1980s. This show has spirit even with some flaws and is well worth seeing. It was the second-highest grossing picture of the year, only behind “Going My Way.^”
            It tells the tale of the Smith family in St. Louis with the 1904 World’s Fair soon toe arrive and it will be the Smith’s last Christmas in St. Louis before moving to New York for papa to pursue a promotion and a better career, despite the family’s reluctance at leaving the familiar far behind.
           Recent RIC grad Sarah Pothier is daughter Esther, the role played by Judy Garland in the movie and she has an excellent voice, full of energy and poise. She delivers a wining version of “Have Yourself a Merry Little Christmas”  and in her trio with sisters Rose and Tootie a delightful “under the Bamboo Tree.” Her acting is full of finesse and sincerity.
            Joshua Stenseth is Esther’s love interest the charming and dashing next door neighbor.  He is engaging enough in the role, managing to deliver a sensitive portrayal, but his singing is a bit weak.
            Bobbie Celine Doherty is little sister Tootie, a bundle of energy and feisty. Doherty is sheer delight in the role, and she gets some of the biggest laughs.
            Hannah Spacone is sister Rose who is flighty a bit self absorbed and blind to al the world’s feelings but her own. Spacone gives a engaging performance as this young woman.
            There is also brother Lon, played by Michael Luongo who turns out to be an exceptional dancer as well showing off his stuff in the square dance number and the delightful and winning “The Banjo” number.
            Lily McMahon is sister Agnes, who is Tootie’s partner ins crime at all times. She is a fun foil for Tootie, full of zest and sincerity.
            Rebecca Barko is their mother, Mrs. Anna Smith,  the ever dependable, loving matriarch of the family. She shines in “You’ll Hear a Bell.” She and her husband stand out in “Wasn’t It Fun.”
            Ronald L. Brown is her husband Alonzo, a bit cranky and more than a bit ambitious wanting to get a promotion at work, one which takes him and his family to New York, despite their protests. He was a terrific baritone voice which shines in “A Day in New York.”
            Mark S. Pothier is Grandpa, a warm caring man who loves his grandchildren and has a good rapport with them. Pothier shows a winning side as Grandpa, although his singing voice is somewhat lacking.
            Stacey Geer is Katie the Irish maid. She is full of energy and a distinct presence. She is an excellent singer who knows how to sell a song as she does in her trio with Mr. and Mrs. Smith, “A Touch of the Irish.”
            Director and choreographer  Gary John La Rosa makes some of the acting stylized which sometimes strikes a false note. His choreography however is impressive, from the stunning square dance done to “Skip to My Lou” with its cartwheels and flips galore. Or the rollicking “The Trolley Song” with its vibrant energy.
            Musical director Esther Zabinski is right on the mark with the orchestra, provding a rich musical accompaniment throughout.
            The sets by Charles Murdock Lucas are lovely and loaded with nostalgic touches of Americana. The proscenium mimics the old proscenium arches of turn of the 20^th century theaters with its carvings. Behind three panels in an old fashioned drawing style shows houses and it all opens on to the Smith family house filled with vivid detailed touches like vintage photographs, and a grand staircase.
            The Brian Horton turn of the century costumes are elegant and impressive both in style and number.
            The production has many jobs overall and ends up a special holiday treat well worth seeing and bound to strike a familiar and fond note.
            “Meet Me in St. Louis” runs through Dec. 28 at Ocean State Theatre Company, 1245 Jefferson Blvd., Warwick. Tickets are $39-$54. Call (401) 921-6800, or visit oceanstatetheatre.org. 

“Trip to Bountiful” at 2nd Story Theater

by Richard Pacheco

            “The Trip to Bountiful” currently at 2^nd Story Theatre is sheer delight with winning performances and deft direction. It turns into an uplifting story of the indomitable spirit and sheer determination of human will to triumph over all obstacles to their goal, a perfect touch for a holiday spirit.

It tells the tale of Carrie Watts, an elderly woman forced by circumstances to live with her henpecked son and shrill controlling daughter in law, Jessie May. Carrie has one dream, to return to Bountiful, where she grew up, a place full of fondness in her heart. Stuck in her small Houston apartment, she continually tries to escape that limited prison for the broader expanses of her memories rooted in Bountiful, much to the chagrin of her daughter-in-law. Her previous efforts to escape are always thwarted by her son and daughter-in-law’s arrival just as she is ready to escape by bus or train. She tries hard to escape to see her childhood home one more time before she dies. It means the world to her, a treasure she cannot miss any longer, nor avoid, in a sense, her destiny. She is frail but feisty and with a mind of her own no matter what.

            “The Trip to Bountiful” was written by Horton Foote. The play premiered March 1, 1953 on NBC-TV, before being produced on the Broadway stage. Its 1954 staging earned Jo Van Fleet a Tony Award for Best Featured Actress in a Play at the 8th Tony Awards. The role of Carrie Watts won Geraldine Page the Academy Award for Best Actress for the film adaptation and Cicely Tyson the Tony Award for Best Actress in a Play at the 67th Tony Awards for the 2013 Broadway production, which earned a total of 4 Tony Award nominations.

            Paula Faber is Carrie and the epitome of restraint and determination, dogged determination no matter what she encounters. She will return to Bountiful no matter what stands in her way. It is a quiet determination, an iron will that is usually under control and hidden beneath a savvy restraint. She evolves and grows on you, not just some crazy old lady who is willful and determined with no good reason. She has a purpose and knows what it is and will not relinquish it, ever. Faber is in control and delivers an admirable performance as Cassie, one full of nuance and fine emotional touches.

Nathaniel Lee is her son Ludie. He is totally henpecked and at his wife’s mercy as much as his mother and plays the role of peacemaker and diplomat between the two women with caution and concern. He worries about his mother’s health and recoils at his wife’s cloying, downright ill tempered and self centered disposition, particularly regarding his mother and her pension check. Lee delivers a fine performance, one with a sense of underlying suffering and patience to a fault.

Lara Hakeem is Jessie May whose idea of life is reading movie magazines and drinking cokes. She doesn’t work and lords it over Ludie’s mother like an empress. She rules the roost and knows it. She is only concerned about her wants and needs and non on else’s. She is controlling and offers a daunting presence which hovers over all like a dark cloud. Hakeem’s performance is right on the mark, a picture perfect portrayal of a demanding , self absorbed woman who is only concerned about her desires and needs and no one else.

There is some strong support here with the smaller roles which show up throughout the play.

Joe Henderson is the sheriff who catches up with Carrie and helps her complete her journey to Bountiful. Henderson is caring and sincere in the role humane and understanding of Carrie’s plight and his duties under the law. It is an excellent balance.

The3re is additional strong support coming from Jim Sullivan and John Connery as two bus station attendants. Erin Olsen is there to provide understanding and compassion as a fellow traveler, Thelma, whom Carrie befriends in her odyssey back home and does a wonderful job, sincere and convincing.

There is some find live music on hand provided by Eric Behr, who adds color and depth to the play with musical resonance.

Director Ed Shea keeps a keen eye to period detail here and the emotional substance of the play, providing a rich, vibrant experience. While the play itself does not refer to Christmas it evokes the kind of warm feelings associated with this time of year, through vivid performances and excellent sets.

The set by Trevor Elliot is evocative and fascinating. The earlier large panels of painted scenery are reminiscent of American Painter Edward Hopper, in their moodiness and element of melancholy which pervades them. The ones later in the show are more reminiscent of Andrew Wyeth, still with that element of sadness and sweet remembrance.

“The Trip to Bountiful” runs through Dec. 21 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for ages 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com.

“Barefoot in the Park” at Trinity Rep

by Richard Pacheco

“Barefoot in the Park” is a romantic comedy by Neil Simon. The play premiered on Broadway in 1963 and starred Robert Redford and Elizabeth Ashley. The play was made into a film in 1967, also starring Redford, and Jane Fonda and is currently playing at Trinity Rep in a splendid production full of energy, and vitality loaded with physical comedy and zippy dialogue brought vividly to life by a winning cast. This was Neil Simon's longest-running hit, and the tenth longest-running non-musical play in Broadway history. The play was nominated for three 1964 Tony Awards, and Mike Nichols won the award for Best Director.

Corie Bratter and Paul Bratter are newly wed. For their first home, they live in an apartment on the top floor (six flights up if you count the front stoop)of a Brownstone in New York City. The newlyweds face the realities of being married with surprise and at times dismay. They get to met some of the odd collection of neighbors, in particular one Victor Velasco, who fancies himself a ladies’ man and Romeo. Corey takes it in her head to introduce her mother, Mrs. Banks in the hopes that at least he will be a distraction for her, perhaps even a romantic interest. The newly weds head out to dinner with the older couple and everything goes crazy as the night transpires.

Charlie Thurston is Paul Bratter, a young attorney who I about ready to face his first case in court. He is also a  newlywed and very down to earth, feet on the ground, practical kind of guy his wife calls stuffy. Thurston is a marvel of comic timing in the role, with impeccable delivery and facial expressions He is also brilliant when it comes to physical comedy, recalling people like Dick Van Dyke, Charlie Chaplin and Jerry Lewis.  He is a sheer delight to watch in a comic gem of a performance.

Rebecca Gibel is Corie Bratter, the young wife, who is full of dreamy notions about marriage and feet off the ground in an airy attitude which is all centered on what she thinks and believes about the world and marriage. Gibel is a load of charm and energy, full of vitality and spunk. She is confident and self assured. She deftly captures the flightiness of Corie with skill and style.

Gibel and Thruston are a couple offstage as well.

Stephen Berenson is the apartment Romeo, Victor Velasco, who is full of dash and swagger, a smooth talker with an eye towards the ladies no matter what their age may be. Velasco is a gourmet cook and dime store Romeo who flirts with all the women, such as Corie and her mother with equal verve and dedication.  He just loves women and isn’t afraid to show it with a flourish and strut. Berenson is a delight, with comic aplomb in his timing and flair.  Velasco is inexpensive debonair in his capable hands and loaded with laughs.

Phyllis Kay is Corie’s mother, Mrs. Brooks, a widow who is beginning to feel the ravages of both being alone and getting older that way. She sleeps on a board or she cant sleep and her life it pretty much determined in terms of routine and her own rituals. Kay is wonderful in the role, with comic class and grace, full of the right nuances to make her character both endearing and very funny simultaneously.

There is solid support coming from the other two cast members as well, Uche Elueze as the telephone repairman and George Spelvin as the delivery guy. Both add some nice comic touches with zest and panache.

Director Michael Perlman keeps everything moving merrily along with a swift pace that is impressive and effective.

While the material seems a bit dated, the cast makes it all enjoyable. The long drawn out spat that leads to the brink of divorce seems like a tremendous abuse of time, but the actors make it all so much fun even it the material sags a bit due to its age and perspective.

The Daniel Zimmerman set design is a sheer gem, with moveable apartment walls that vividly create the outside of the brownstone and then glide open to reveal the insides of the apartment.

This is a must see production of comic finesse and excellence. There is so much here that is impeccable you’d be crazy to miss it. It is sheer fun and very well acted.

“Barefoot in the Park” at Trinity Rep ” runs through Dec. 21 at Trinity Rep, 201 Washington St., Providence. Tickets start at $46 Call (401) 351-4242, or visit trinityrep.com

“A Christmas Carol” at Trinity Rep 2014

by Richard Pacheco

            It’s that time of year again, the time to trot out those Christmas classics and show them off to best effect. Trinity Rep revives the classic Dickens tale this year from the adaptation by Trinity Founder Adrian Hall and Richard Cummings. It gets of to a shaky start with an awkward beginning scene it turns into rip roaring fun. Yes, there are some changes this year and they work well and is very satisfying and delightful.

            It masterfully evades sentimentality and sugary goodness while remaining poignant and moving where it should be. The familiar tale of the curmudgeon Scrooge, the epitome of skinflint transforms from Christmas hater to its most ardent devotee is a charming journey filled with many delights along the way that are sure to please.

          

  Fred Sullivan Jr. as Scrooge, the tireless businessman who finds value in the cash and not his fellow man is full of zest and energy. He is not brooding or dark as the earlier Scrooge, but instead is full of rambunctious  bluster, not at all a shriveled up mean spirited misanthrope. It’s a keenly delivered performance, full of humor and sizzling with energy. Scrooge is indeed a miser in his hands, but one full of presence and energy.
            Tom Gleadow is Jacob Marley, Scrooge’s now deceased partner.  He has some brief moments as Scrooge recalls the living partner and gives an indication of his business acumen and likewise stingy nature. When he appears as the ghost of Marley, wailing and howling, wearing chains and the grave trappings, he is ominous and may prove too frightening for younger children as the young girl near me begged her mother to leave which she eventually did.. It was very effective as he rises from Scrooge’s bed in the most eerie manner. Gleadow is right on the mark as Marley, delivering his ominous warning with purpose and determination. He is also effective as the ebullient Mr. Feziwig, Scrooge’s boss in his youth.

            Elise Hudson is the  Ghost of Christmas Past and she enters with flair and presence, as she descends from the ceiling in a white flowing gown that give the impression of airiness and flight. It is a spectacular entrance that leaves and impact and she is poised and patient as the spirit who leads Scrooge to his more pleasant past with fond memories such as the woman he almost married, Belle and the Feziwigs, Scrooge’s boss and his wife.

            Joe Wilson, Jr. makes an amazing entrance as the Ghost of Christmas Present, zooming in from above wearing tights, a handlebar moustache and top hat to hilarious effect. He bounds about with zip and zest as he speaks with Scrooge, full of merry energy and sheer fun. It is delightful.

            The Ghost of Christmas Future is a dark and ominous figure, looming and dark, with hands, rather massive threatening mitts which dangle to the floor, but is never really particularly terrifying or ever full of dark threatening prescience or menace. Ralph Adriel Johnson handles it with a brooding , nearly plodding movement that is dark, but not terrifying.

Anne Scurria does multiple duty here with the skill and finesse for which she has always been known as Mrs. Feziwig, Scrooge’s crusty and cranky charwoman is a pleasure.

Stephen Thorne is there as the hapless assistant to Scrooge, Bob Cratchitt. He is excellent as the frightened obedient employee whose concerns for his family and in particular his injured son, Tiny Tim keeps him in line at work for fear of losing his job.

Michael Jennings Mahoney is Scrooge’s nephew, Fred, son to Scrooge’s beloved dead sister and his only living family.  Fed continues to try to make contact with his uncle, reach him emotionally, but is always blocked by Scrooge’s indifference and mockery until his transformation by the ghosts’ visits. He is sincere and  convincing in the role, full of enthusiasm and conviction.

Henry Siravo who played Tiny Tim in the press opening was endearing and cute but did not show much enthusiasm in the scene where he blesses everyone. There are tow cast of children, the red cast and the green cast. The red cast performed on the press night.

For the purists, there are some elements missing or not emphasized here. There is no showing or mention of how Scrooge ruins his former boss in his descent to parsimony and self absorption. Scrooge’s break up with Belle lacks a romantic impact and power that it might have. But there are small things in an otherwise wonderful and entertaining version of the Christmas classic.

Director Taibi Magar keeps the pace moving merrily along, at times abbreviated, but always fun.

            The sets by Patrick Lynch and lean and streamlined, not heavy into detail and atmosphere, while they do indeed invoke the right mood and atmosphere they do so lightly and without a heavy hand.

            The Olivera Gajic costumes are rich and wonderful.

            “A Christmas Carol” runs through Dec. 31 at Trinity Rep, 201 Washington St., Providence. Tickets start at $31 for adults and $26 for children 2-14. Call (401) 351-4242, or visit trinityrep.com

“Hedda Gabler” at the Gamm

By Richard Pacheco

            “Hedda Gabler” currently at the Gamm Theatre adapted by artistic director Tony Estrella is simply riveting, rich in underlying emotional currents and devastating intensity, propelled by superb acting and deft directing.

            The classic Ibsen play tells the tale of Hedda Gabler, the daughter of an aristocratic general who finds herself trapped and bored in married life even though she is a newly wed. These are sharply drawn characters that are superbly acted and skillfully directed by Estrella. There is seething intensity here, underlying currents of deceit and disappointment that surge to the surface with dire consequences. All of which makes for compelling and relentless theatre. The characters are sharply drawn and very distinct.

            Marianna Bassham is Hedda, now Mrs. Tesman, ne Gabler, daughter of the imperious general.  Hedda is deeply troubled and incredibly bored by her life and in particular her husband.  She has a dark streak that runs deep and constant. She was a bit wild before  she got married and at times seems to long for that life again, as if her choice for prudence has becomes an overwhelming burden which drags her down daily, saps the life out of her. Her idea of fun and games is to fire a pistol at people, one not loaded with blanks. It is a riveting performance, rich in darkness, boredom and borderline madness.

            Joe Short is her somewhat naïve and often childlike husband George, who got his degree while studying on their honeymoon He is clueless and nearly painfully innocent and without a hint about life or his wife.  He has a childish enthusiasm, a really kind of golly gee effect which he struggles to keep in check. He is like a child who just met his favorite movie star or made the little league team in spite of it all. Short delivers a rich performance of a childish and childlike man who is unaware of so many things in particularly regarding his wife’s darker side.

            Alexander Platt is the tortured and fragile Eilert Lovborg, a brilliant writer who is tortured by relentless drinking and alcoholism which disintegrates his talent and his life reducing him to dire straits and failure personally and professionally. Yet Lovborg has manages to get on the wagon and stop drinking, get his life together again with the publication of a new book which is getting wide acclaim and interest. It is a tortured performance rich in inner battles and oozing a sense of fatal weakness and disaster.

Jim O’Brien is Judge Brock, longtime friend of the family who appears to be proper, but has his darker side as well. It is one of O’Brien’s best performances, rich and full of depth.

Marya Lowry is George’s doting aunt Juliana who holds her nephew in high regards despite his meager accomplishments. She is the epitome of the loving aunt, who adores her nephew and does not see his failings and flaws, only delights in his successes.

Karen Carpentier is Thea the sheriff’s wife and serves as Lovberg’s muse and helps him  with his research and his writing, takes care of him and adores him. IT is a sincere and touching performance, rich and deep.

Katie Travers is the maid, Berta, longtime employee of Aunt Julie and now, not too happily working for her nephew and his wife whom she is not too fond. She adds some fine comic touches to the role.

Tony Estrella directs with flair and finesse, evoking the best out of this superb cast. His adaptation is vivid and dense, full of depth and varied.

Scenic artist Cappie Cappizano delivers a set that is loaded with beams  cross beams, a house under construction and transparent, exposing it structural flaws and emotional holes. There are a couple of times when it interferes with the lighting.

This is an excellent production rich and varied with a strong and talented cast that is sure to please.

“Hedda Gabler” at the Gamm Theatre Oct.23 – Nov 30 172 Exchange St., Pawtucket. Tickets are $36-$45. Call (401) 723-4266, or visit gammtheatre.org.

“Tapped Out” at Image Theatre

by Richard Pacheco

            Image Theatre in Lowell continues its commitment to  new plays and local playwrights with its current production of “Tapped Out” by Massachusetts playwright Karla Sorensen with an evening that is full of solid acting and intriguing twists and turns.

            It is the 1980’s and Manny buys a bar in an old mill town fighting for a second chance and new life. The dilapidated bar is a dive with the same customers who cluster there, stuck in their same lives and struggling for a second chance or better life. Manny has taken some chances to start his bar and those hard choices may be crashing down back on him including his unconventional financing arrangements he made until he can get a VA loan.  Things are in jeopardy and Manny faces these trials and tribulations with the most fortitude he can muster, some new dreams and a new love.

            David Sullivan is Manny, a man with a past and some dark secrets, troubled by guilt over the death of friend years ago and the sad state of his current life mired in failure and frustration. Yet Manny is trying to dig his way out, buying a bar with the hopes of renovating it with the help of his former crush and new love, Janine. She has dreams like him is wiling to help propel him into his much denied success and borderline legal ways.  Sullivan is straightforward and direct as the former champion teenager boxer now struggling for dignity and success.

            Drew Shadrawy is Tucker, a drunken, boisterous coot who hangs around, and is a long time friend to Manny. He is on disability and walks with a limp and spends his time dreaming of the good ole days in the bar, resistant to any kind of change at all, determined to remain a fixture in an unchanging landscape of broken down bars and fond remembrances from the past, or even not so fond ones. He has a shady side, skirting the other side of the law with ease and frequency, but under it all loyal to his friend and his welfare, or what he thinks it his best welfare. Shadrawy is gruff and cranky, yet full of humor in the role, plunging right ahead to remain in the past. He is sincere and skillful in the performance.

            Jenney Dale Holland is Janine, one time neighborhood cutie who left for California and a better life but is back home to take care of business when her mother dies, she must deal with the estate and sell her mother’s house. She is attracted to Manny, claiming she always was and wants to forge a new life with him, including the future fate of the bar. She has secrets from her past as well, which might permeate her potential for a better future, one filled with success and joy. She is pert and perky in the role and handles the romantic scenes with Sullivan with flair and sincerity.

Director Jerry Bizantz handles it all with skill and finesse including making good use of the small space. The set design by him and Ann Garvin, Bill Walter and  Shadrawy works well and makes good use of space.

            “Tapped Out” at Image Theater, upstairs at the Old Court Pub, 29 Central street, Lowell, MA www.imagetheater.com or call 978-441-0102. Continues until Nov. 14.