“Venus in Fur” at 2nd Story Theatre

By Richard Pacheco

            “Venus in Fur” is a two-person play by David Ives set in modern New York City. The play had its premiere off-Broadway at the Classic Stage Company in 2010 and on Broadway in 2011. The current production at 2^nd Story sparkles with sheer brilliance, raw energy and is packed with laughter as well as being provocative.

            Thomas Novachek is the writer-director of a new play opening in New York City; this play-within-the-play is an adaptation of the 1870 novel “Venus in Furs “by the Austrian author Leopold von Sacher-Masoch and happens to be the novel that inspired the term Masochism. The play begins with Novachek on the telephone lamenting the inadequacies of the actresses who have showed up that day to audition for the lead character, Wanda von Dunayev. Suddenly, at the last minute, a new actress, Vanda Jordan, bursts in. Novachek is on the telephone lamenting the inadequacies of the actresses who have showed up that day to audition for the lead character,

            Vanda Jordan, bursts in. and she is brash, vulgar and unschooled, but she convinces him to let her audition for the part of Wanda. The playwright will read the part of Severin von Kushemski. They both become caught up in the characters they are reading, often interchanging art and reality with unexpected consequences.

            Richard Derry is Novachek, the playwright frustrated by the actresses who have thus far auditioned for him. He is frustrated by his efforts to audition a leading lady for the play, with no one seeming to measure up to his artistic needs. As he reads the part of Severin von Kushemski je becomes swept up in the play, at times merging his character with that of the character in the play. Derry is wonderful in the role, sheer brilliance as he deftly shifts back and forth between playwrights and character.

            Lara Hakeem is the actress, Vanda, who arrives late for the audition. She is brash, vulgar and obnoxious, but also very sexy, sensual and provocative. She is outspoken and daring as a person and as an actress, very nervy and bold. She moves in and out of the role she is auditioning for and the actress at the audition with skill and finesse. She is audacious and inventive, full of energy and sassy. She alternates between the audacious actress and the sexy character with finesse, effortlessly being either seductive or brash ass needed. It is an impeccable performance.

            The chemistry between the two is impressive at once vibrant and touching, inventive and provocative.

            Ed Shea directs with zest and intelligence. He knows how to evoke the best from these two actors and does so consistently and robustly.

            The set and lighting design by Max Ponticelli is right on target evoking the bare auditions space with the overhead skylights with skill and vision.

            The costumes by Ron Cesario are perfect from her provocative dominatrix outfit to the coats he wears as the character in the play.

This is a do not miss production, one loaded with terrific acting and an intriguing play that is inventive and provocative.

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

“And Miss Reardon Drinks A Little” at 2nd Story Theatre

By Richard Pacheco

            The current production at 2^nd Story Theatre of Paul Zindel’s “And Miss Reardon Drinks A Little” is sheer theatrical gold, It is polished, intense and riveting, loaded with laughs and fraught with emotional moments. The writing is top notch, full of funny contrasted by moments of disheartening pain and power. The acting in it is simply superb.

            Paul Zindel wrote this play in the late 1960s. The show was first produced in 1967 in Los Angeles, but was not published until 1971 when the Dramatists Play Service in New York picked it up. On February 2, 1971, And Miss Reardon Drinks A Little made its Broadway debut. It ran for a total of 108 performances and was directed by Melvin Bernhardt. The original Broadway Cast included Julie Harris as Anna Reardon, Estelle Parsons as Catherine Reardon, Rae Allen as Fleur Stein, Bill Macy as Bob Stein, Nancy Marchand as Ceil Adams, Estelle Parsons was nominated for a Tony Award for her role as Catherine Reardon and Rae Allen won for her portrayal of Fleur Stien.

            The cast here is a wonder and a delight. This tale of three dysfunctional school teachers is pure magic. The three sisters lost their mother about eight months earlier and that has taken it’s toll on the women, mostly Anna, who seems to fall to pieces over it, slipping into odd behavior from embracing strange real cats, not even  dissuade when on attacks her and she insists, wrongly, that she has rabies.

            Erin Olsen is a wonder as the crazed sister on temporary leave from teaching for her illness and some alleged bad conduct with a young male student, is riveting. From her maniacal laughter and absurd antics to her moments of painful withdrawal, she is excellent.

            Then there is the imbibing sister referred to in the title, Catherine, played by Lara Hakeem. She has by choice scarified her life to hold this shattered family together. It had taken its toll on her and she seethes with anger and a fierce sense of humor that is totally relentless and merciless. She is fed up with her now vegetarian sister Anna’s compulsions to eat zucchini and drained by trying to find new ways to cook it

            Then there is sister Ceil, cool, aloof, accomplished who has risen to become superintendent of schools by protecting number one without reservation of restriction. She appears to b in control and com[pared to her sisters she is, but she is also self absorbed and takes care of number one, namely here. She will throw anyone under the bus to preserve her own career and station in life, including family. Tanya Anderson delivers an outstanding performance as the sister with a mission and ruthless determination.  She is impeccable in her steely demeanor and aloof poise.

            Also on hand is a wannabe guidance counselor, Fleur Stein.  She is a real kiss up and no doubt stops by to kiss up to the superintendent sister and does so from the moment she arrives.  She is played with humor and flair by Susie Bowen Powers.

            Her husband Bob, played by Joseph Henderson who is less than thrilled by some of her habits and how she likes to acquire things from school like toilet paper and paper towels, much to his dismay and chagrin.  It is he who delivers the bomb that they do not recover from just before he departs. He is suitably annoying and persistent as he rambles on full of himself and very conscious of his wife’s failings which he does not hesitate to list with gusto.

            Finally there is Marica A. Layden as Mrs. Pentrano, who lives in the building and has a home business for cosmetics etc. and she is relentless in her pursuit of sales and a bit of malapropist, often using the wrong word or mispronouncing it with gusto and conviction. Layden is delightfully annoying in the role a mixture of dense and  dogged in her pursuit.

            This play zooms on with relentless and fierce humor and nothing and no one is immune to the bite. Together this cast sizzles with energy and vehemence and liberal doses of laughs in between the biting comments.

            Mark Peckham directs with a sure and certain touch. He keeps the pace fast and furious and the actors interactions sparking with snippets of  venom and bile in the midst of the hilarity.

            Trevor Eliot’s set design is once again excellent., evoking a cramped apartment where two of the three sisters live.

            "And Miss Reardon Drinks a Little" runs through May 17 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for those 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com. 

“Lend me a Tenor” at Ocean State Theatre

By Richard Pacheco

            The current production at Ocean State Theatre is feisty and full of energy, loaded with laughs thanks to strong direction and excellent performances. The Ken Ludwig comedy received nine Tony nominations when it played in New York. The play is set in 1934 in Cleveland for the Cleveland Grand Opera Company.

            The Cleveland Grand Opera Company has booked the famous Italian tenor Tito Merelli to sing the lead in Verdi's "Otello." But Merelli takes an extra dose of sedative to calm down and they think he is dead. In a fit of panic, the head of the opera house, Henry Saunders sends his relentless assistant, an aspiring opera singer, Max, off to pretend to be Merelli and sing in his place. In the middle of this mess, Merelli wakes up and now there are two men in blackface and Othello costumes running around the hotel, darting in and out of bathrooms and closets to avoid an irate wife and some horny female opera singers.  It all grows increasingly outrageous with each passing minute.

            Nick Gaswirth is Max. the wannabe opera star and assistant. He is mild mannered and insecure expect for caring about Maggie, Saunder’s daughter and about being passionate about singing opera and being a star. Gaswirth is right on the mark as  the timid man propelled into the middle of his wildest dream by a quirk in circumstance.

            The imported Italian Opera star Tito Merelli is a total womanizer, a man of talent and huge appetites, mostly sexual. He is a hopeless flirt and his actions infuriate his wife constantly firing her hot temper to new explosions of rage and distrust.  Bruce Sabbath is Merelli and he plays him with panache and flair, full of energy and as a relentless womanizer.

            Although this is not a musical, there is a point where Gaswirth and Sabath sing a Verdi suet together and it is well done, very enjoyable.

            Alexander Cook is Saunders, the head of the Cleveland Opera. He is the epitome of classic restraint except when he loses it when he thinks Tito is dead. He is a sharp, hard edged businessman and Cook plays him well, full of firm confidence and a sense of control.

            Gerianne Genga is Merelli’s flamboyant and passionate wife with her jealous streak, Maria. She is a bundle of energy and raw passions as she rants and rambles about with her jealously running amok.  Genga is right on the mark in the role, a madcap mixture of passion and zest.

            Elizabeth Boyke is Maggie, Saunder’s daughter who is intrigued fascinated and in awe of the famous Merelli, opera star. She wants to have a fling before she settles down with Max, so why not with a famous opera star? She is an innocent held spellbound by the pull of famous star, attracted into his orbit, under his spell. Boyke is wonderful as the innocent wanting to go awry for a famous fling.

            Rochelle Weinrauch is Diana who sings opposite Merilli as Desdemona, and is enamored of him as much as Maggie. She is enticing and seductive, shimmering an elegance and finesse and high style as she zooms in like a black widow to get what she wants. Weinrauch is delightful in the role, full of zest and sultry finesse.

            Maria Tavarozzi is Julia, a snooty grand supporter of the opera. Tavarozzi is a delight in her sliver wig and haughty demeanor, a joy to watch.

            Finally is Kevin Broccoli as the opera loving bellhop, whose passion for opera nearly exceeds those of the singers. Broccoli is a comic gem in the role bringing just the right touches to it with superb comic timing.

            The direction by Kevin Pariseau is impeccable and meticulous. He is always aware of pace and keeps it moving merrily along. It is sheer fun from beginning to end, a delight to watch.

            The hotel art deco set by Amanda Hall and the costumes by Ryan J. Moller are sheer delight, true to era and exquisite.

            Lend Me a Tenor" runs through April 19 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Tickets are $34-$49. Call (401) 921-6800, or visit oceanstatetheatre.org.

“Lysistrata” at Cape Cod Community College

By Richard Pacheco

            Cape Cod Community College’s current production of the classic Aristophanes play “Lysistrata” is a merry raunchy romp, full of vitality and sheer fun. Originally performed in classical Athens in 411 BC, it is a comic account of one woman's extraordinary mission to end the Peloponnesian War. Lysistrata persuades the women of Greece to withhold sexual privileges from their husbands and lovers as a means of forcing the men to negotiate peace — a strategy, however, that inflames the battle between the sexes. The play is notable for being an early exposé of sexual relations in a male-dominated society. This translation by Douglass Parker is raucous fun, full of double entendres, sexual innuendoes and jokes galore, which the director aptly calls the Mel Brooks version, not at all academic but full of sheer fun able to deftly trample boundaries of good taste at a single bound.

            Kimberly Monteiro is Lysistrata, the woman with a mission to make love not war. She struggles to rally the women behind her cause to cut off all sex from the men until they end the war, period and most succinctly. It is an uphill battle, one fraught with assorted difficulties but she is determined. Monteiro is solid in the role, full of energy and enthusiasm. She offers a strong presence, a woman of sheer will and concentration bent on victory and the end of the war no matter what it takes.

            She has a bevy of determined women with her, some varying in their dedication and enthusiasm for the cause but still willing to contribute to the best of their abilities.

            The men who try to thwart this plan are many and just as dedicated until the lack of sex starts taking its toll on all of them eventually ending with them stuck at attention to the task at mind.

            Dustin Martin is the commissioner of public safety whose loyalty and dedication to the cause of war are not in question. But he is a man and eventually the battle of the sexes takes its toll on him as well and he succumbs to the pressure to relent in war. Martin is delightful as the commissioner, full of bluster and at times pompous, a loyal city father dedicated to the cause of the current war.

            Ben Gutman is Kinesias, a renown warrior who loves his wife even more than war so it turns out. When he returns for battle for a conjugal visit and his wife refuses him sex, it paridly brings about his change of heart to embracing the new cause of peace and put an end to his priapism.  Gutman is hilarious as he battles his wife’s refusal and his painful condition. He makes the most of double entendres and sexual comments to very funny effect.

            Emily Entwhisle is Myrrhine, his wife. She is winning as the temptress, who shamelessly teases and tantalizes her husband but refuses to surrender to his advances, no matter how long it has been unless he supports giving up the war.

            Cameron Hall is Kinesias’ slave, a man dedicated to his mater determined to help him solve his marital plight as bet he can. Hall is a hoot as the slave, full of energy and enthusiasm.

            Special mention has to be made of the Spartan Ambassadors who sound like big time hillbilly rednecks. They are outrageously funny with the twang in their voices and their rough and ready presence.

            Of the women, the names ones and not the choruses, Emily Tullock, Emily Entwhisle. Taryn Van Esslestyn and Liz Bent are sheer delights with their various antics and quirks as they come over to the cause espoused by Lysistrata.

            The fairly good sized choruses of men and women offer distinctive personalities as well as blending into homogeneous wholes when needed.

            Director Elizabeth Rapoza keeps everything moving at a merry raunchy pace, the sex jokes and antics running amok with a sense of raw energy and sheer abandon.  It is a large cast with both male and female choruses and she handles their movement with skill and grace.

            The set by Guy Trudeau is excellent, with two Greek style buildings on either side and a temple entrance at rear of the stage with a frieze atop which is elegant and classic in style and beauty.

            It is a vigorous, rambunctious good time, rich in sexual remarks, situations and double entendres. Aristophanes would have been happy to see it.

            “Lysistrata” at Tilden Arts Center, Cape Cod Community College, 2240 Ivanaugh Road, West Barnsatable, MA n 508-362-2131, April 9-11, 17 and 18, 24, 25 at 7 pm, April 11, 18, 25 at 2 pm. $15 general admission, free with student ID.

“Other Desert Cities” at 2nd Story Theatre

By Richard Pacheco

            “Other Desert Cities” currently at 2^nd Story Theatre is a riveting story, eminently well acted and directed, full of growing power and presence. The  Jon Robin Baitz play was a finalist for the 2012 Pulitzer Prize in drama. The story is simple enough, Brooke, the daughter returns home after a very successful novel with her second project, a memoir, basically a tell all book that is sure to infuriated her parents. It is the mixture of insufferable parents and their child in search of “the truth.” It is an inevitable collision of increasingly dire consequences. This Christmas Eve gathering in Palm Springs is doomed from the first.

            Rachel Morris is Brooke, who struggles with the success of her first novel to come up with something to match its success. She ahs suffered from a variety of mental issues, ending up debilitated many times in her struggle back to her life and her writing. She is headstrong and determined and will not be deterred in her course. Morris delivers a solid performance, full of energy and determination.

            Joanne Fayan is her alcoholic aunt Silda, who serves as her undercover source in her memoir, her Deep Throat so to speak. She struggles to get off the booze a battle she has been fighting unsuccessfully for many years. She has resentment for her sister who has helped, but lords it over her mercilessly.  It is s fiery performance full of electric energy and zest.

            Lording over the family is the ultra cool and collected mother, Polly, reminiscent of Nancy Reagan, a protégé of hers, a woman with a calculating nature that is relentless and fearless. Nothing unravels her and you don’t want her for an enemy, ever.  Sharon Carpentier is cool and poised in the role, the epitome of aloof control in any circumstance.

            Then there is Brooke’s younger brother, the cool and hip Trip, a television producer for a court reality show which is quite popular. He is a font of sarcasm and humor and the only family member to live home with his parents. Ara Bohigian is on the mark as the man who loves his sister and his parents despite their flaws, all of their flaws and struggles to maintain both in these close quarter conflicts.

            Finally there is the husband and father Lyman a retired actor and ambassador under Regan who battles the conglomerated emotional mess of his family as best he can trying to balance his loyalties between the daughter he loves and his wife whom he also loves. Vince Petronio delivers a solid performance that is right on target as the easy going politician who keeps the secrets buried until he has to expose them in spite of himself.

            Director Ed Shea keeps the pace moving and directs in the round which allows for minimal set, mostly furniture. He keeps the intensity mounting and the laughs coming with a firm sure hand.

            "Othe Desert Cities" (13 March – 12 April)

2ND STORY THEATRE

@ 28 Market Street, WARREN RI

1(401)247-4200

           

“Ladies at the Alamo” at Theatre One

By Richard Pacheco

            Theatre One closes its season with Pulitzer Prize winner Paul Zindel’s fierce comedy “Ladies at the Alamo” which takes a searing look at life behind the scenes at a Texas theatre in Texas City in the throes of a power struggle. The five women cast seethe with comic venom as they go down and dirty with each other in an attempt to run the theatre through all manner of finagling and double dealing from which no one is immune. It is propelled by a talented and fierce cast full of fire and with relentless energy.

            The setting is the lavish reception room of the new multi-million dollar Alamo Theatre, which grew from its modest beginnings to one of the gems of Texas culture. It opens as the leadership of Dede Cooper, the founder and artistic director is under fire, challenged by the chairman of the board, a woman of great wealth and a unsatisfied lust for power and control with a passionate desire to replace Dede. Joanne wants to bring in a hand picked replacement and squeeze Dede out. She will not go without a fight.

            Kathy Bourne is Dede Cooper, a woman who knows how to fight her way up from tough beginnings. She is determined, dedicated with tunnel visions on her goals as the theater director, come what may. This Texas flower has loads of thorns and does not hesitate to use whatever she has at hand to defend herself against all comers. Bourne is a delight with her Southern twang and non nonsense demeanor. She can smile with the best of them while poising for the frontal attack to rip her enemies to shreds without mercy.

            Linda Merritt is the wealthy sophisticate, Joanne Remington, a woman with more money than she knows what to do with and believes since she gave so much to the new center she has a right to control it all no matter who gets in her way. She is snobby, wealthy, oozes privilege and condescension towards all, particularly Dede. Merritt is right on the mark as Joanne, a perfect mixture of poise and nastiness that delights while it surprises.

            Amanda Hayter is Bella Gardner, the feisty, outspoken, often outrageous best friend of Dede and the town slut. Her mouth and her body know no bounds and are confined by nothing except her whim and whimsy or by her capricious will. Hayter is sass and spunk as Bella, the hard drinking, boisterous good time gal with no reservations and constraints.

Jess Wilson is Suits, Joanne’s right hand, and somewhat shady assistant, who seems like she would stop at nothing to help her boss achieve her goals, at once fierce and menacing. Wilson is overbearing and ominous as the character requires and she does it with skill, flair and determination as well as menace. Yet she is also capable of touching monologue she gives in Act II.

Susan Salvesen is the aging movie star Shirley Fuller, who returns to the theater where she got her start, this time to take over after her movie career seems to tank and her options are few. She has left her Texas twang behind and struts about with the poise of a once confident star, now brought low by life. Salvesen is the epitome of the overbearing movie star, tons of bluster and trembling in insecurities, too many to mention.

This keen cast is right on the mark, full of fun and oozing nastiness when they battle, ladies in name only. Here, the battleground is equal and no matter where you came from, money and sophistication or the down and dirty Texas streets, it all evens out when the claws come out for attack and defend with delicious malice.

Director Peg Holzemer, who directed this play in the 1980’s at Theatre One, has brought it back again with equal success and flair. The pacing is taut, the lines delivered with scornful and lively flair for a dose of pure venomous fun.

“Ladies at the Alamo” is feisty, down and dirty fun, loaded with verbal venom and raw attitudes across the boards. The terrific cast keeps it all racing along with energy and impudence that is impressive and hilarious. You don’t want to tangle with these so called ladies at all, not if you hope to get out intact.

It continues at Alley Theatre 133 Center Street Middleboro. March 12- 22 at 7:30pm Sunday March 22 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 1-774-213-5193.

“The Last Five Years” at Ocean State

By Richard Pacheco

            “The Last Five Years” at Ocean State Theatre, the directorial debut of Joel Kipper is a good concept gone wry. It is Jason Robert Brown’s unconventional look at the break up of a marriage, inspired by the break up of his marriage. It is told by the couple, each telling the tale in opposite directions, her from the end to the start and he from start to finish.

            One of the major problems with the show is it gets confusing about who is where. Brown is a three time Tony Award winner but this show does not show off his strengths at all. The music is without variety and a bit monotonous for the 90 minutes, with the emphasis on jazz and through composed, meaning there is no dialogue (aright precious little) dialogue through out to hold it together and give us the relationship between the characters.

The two characters tell their tales with little interaction, the only spot is a song about their wedding, and it leaves you with two separate stories which can often be difficult to untangle and characters about who it is difficult to care. When it played in New York, it only ran from March to May Off Broadway in 2002.

One of the songs, “The Schmuel Song” about a Jewish tailor is totally unnecessary and adds nothing to the story. Whatever flow it might have is disrupted by the intermission. It could be missing with no loss at all.

So much of their tale is nebulous and vague, You learn that he gets somewhat famous and she gets jealous and he ends up cheating on her. They may or may not have had a child together as it is difficult to tell. Nothing is substantial or lingering in the memory. The premise of the show is established in the first scene, but we do not get toe learn much about them in detail, it is all vague, somewhat nebulous as their marriage disintegrates.

Neither actor is an overly impressive singer. Alyssa Gorgone as Cathy at time has trouble with pitch. David Demato as Jaime often bellows and bullies his way through songs.

Alyssa Gorgone plays Cathy, the wife. She is an aspiring actress whose career is best by many difficulties while her husband’s seems to take off from day one to ever greater heights. She is at times uncertain and lacks self confidence, but at first certain she ill love him forever. After all, who goes into a marriage with the intent of divorce? She constantly battles the demands of an acting career, with its endless disappointments and frustrations with his ever building success as a writer, reaching higher and higher levels in society. She starts with resentment aimed at Jaime and it seethes and grows constantly, destroying whatever they once had. She has energy, but often strains for pitch.

David Demato is Jaime, her Jewish husband. He is infatuated by his wife from the first moment. He is also infatuated with his ever growing career which starts to soar from the first moment. It creates conflicts in the marriage and puts him in temptation’s way as his writing reputation grows and his wife’s resentment and jealousy grows at an equal rate. He ends up being massively disenchanted and ready to love on by packing what he owns into a box and leaving, tired of the life they now share from the glowing romance brimming with hope he believed they once had. With many songs he bellows, yet he manges to maintain some degree of charm as the ever successful Jaime.

Director Joel Kipper tires to keep the pacing on the mark, but the musical presents some insurmountable difficulties for him or any director. One of the most difficult is the characters we don’t care about very much anymore than the tale of strangers on a plane in passing. The production is disappointing on so many levels.

Kimberly Powers set design has an innate charm and flair which is a definite plus. The look is excellent and endearing.

"The Last Five Years" (25 February - 15 March)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800