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Past reviews are archived - RED Now at The Boston Center for The Arts, The Speakeasy Stage Company presents its production of the Boston premiere of "Red" by John Logan. A major triumph in 2009 in London and New York, this multi-award winning play then went on to garner the 2010 Tony Award as the year's best. Centered on Mark Rothko (Thomas Derrah), the great abstract expressionist painter, it is set in his large New York warehouse-like artist's studio, during the years from 1958 to 1960. He has been commissioned to create a series of super-large murals to be hung in the grand "Four Seasons'" restaurant in Manhattan's splendid new Seagram's building. To prepare for this auspicious assignment, Rothko has hired Ken (Karl Baker Olson), a young enthusiastic novice, as his new apprentice. Although he briskly announced at their first encounter that "I am not your teacher," over the next two years he will then expound, in ongoing loud, unrestrained and emphatic terms about his beliefs and goals. A man of ferocious and wide-ranging interests, he will go on and on to state his attitudes about everyone from Freud, Shakespeare and Nietzche to Caravaggio, Matisse and Jackson Pollock. "Unlike representational paintings, my pictures must pulsate!" Later he adds, "there's tragedy in every brush stroke." As their time together lengthens, the youthful inexperienced neophyte gradually begins to find his own voice. The combative exchange between assertive mentor-lecturer and passive beginner progressively begins to change. Memories of Ken's own familial past, defined by personal tragedy, embolden him. He even finds the strength to dispute Rothko's disparaging views of such emerging new artists like Robert Rauschenberg, Jasper Johns and Andy Warhol! Unlike Rothko, Ken is unwilling to see these new creators of "Pop Art" as petty and lacking depth. Throughout their time together, Rothko also becomes increasingly fearful that his grandiose and provocative murals will ultimately be treated simply as wall decorations. This leads him to begin to rethink his purpose and goals. Brilliantly portrayed by Derrah as the master artist with a vividly compelling also by Olson. This engaging and stirring exploration of one of the 20th century's greatest artists, potently directed by David R. Gammons is now playing through February 4, 2012. (My Grade: 5) GOD OF CARNAGE Now at The Boston University Theatre, The Huntington Theatre Company presents its new production of "God of Carnage" by Yasmina Reza.
A grand success in Paris, it became a similar mega-hit in 2009 in London and soon thereafter on Broadway when later translated from the original
French into English by Christopher Hampton. It has now also been released as a major motion picture with its title reduced simple to
"Carnage." Now reset here in a fashionable Brooklyn neighborhood, Veronica and Michael Novak (Johanna Day and Stephen Boagrdus) have
invited Annette and Alan Raleigh (Christy Pusz and Brooks Ashmanskas) to their home to discuss a school yard fracas between their two young
eleven year old sons. The Raleigh's child, Benjamin, in an after school scuffle with the Novak's boy Henry, caused the latter to lose two teeth
and suffer a swollen upper lip. (Neither child is ever seen during the performance). Initially the discussion between both sets of parents is
quiet and amiable. Veronica, authoress of a book on the turmoil in Darfur, hopes to convince the Raleigh's about their son's bad behavior.
However she feels her husband Michael, a hardware supplies representative, in not sufficiently energized. Alan, an oily corporate lawyer,
heavily involved in some shady negotiations related to a pharmaceutical company, continually interrupts the discussion with the Novaks to engage
in many stealthy business calls on his cell phone. It's obvious that Annette, his second wife, is quite annoyed with his attitude and is also
beginning to feel queasy. Although the meeting between these two sets of parents had begun cordially enough, gradually however, their
mediations begin to degenerate into combative attitudes which soon begin to mirror the bad behavior of their young sons! Underlying their
marital tensions, Alan's many seemingly suspicious and clandestine withdrawals from the group begin to vex his nauseated partner to such an
extreme that she soon erupts into a nasty spate of projectile vomiting! Once the others all help to clean up the foul mess she's caused, and
she's then able to regain a sense of relief, she later retaliates against her spouse's rude indifference by dunking his cell phone into a nearby
water-filled vase of tulips! As expected, the capacity audience broke out with explosions of lusty laughter with each new uproarious
complication. Under Daniel Goldstein's well focused direction, the splendidly accomplished quartet of performers engaged each new hilarious
development with grand assurance! Now playing through February 5, 2011. "Superior Donuts" Now at the Lyric Stage Company of Boston is their new production of "Superior Donuts" by Tracy Letts. A 2009 success on Broadway, this presentation marks this play's local premiere. As the title suggests, it's set in a rundown donut shop in a depressed Chicago
neighborhood.The target of recurrent after-hours vandalism its inheritor and proprietor Arthur Przybyszewski (Will LeBow), now a middle-aged,
jaded former hippie, who evaded Vietnam by sitting-out the war up-north in Canada, to the dismay of his now deceased, elderly immigrant father.
He's chastened by his failed marriage (his ex-wife has also just recently died) and his estranged daughter.He's really feeling very downcast.
When young, 21 year old, African-American Franco Wicks (Omar Robinson) shows up looking for employment, Arthur is impressed by this young man's
high spirits and enthusiasm! Franco bubbles up with notions about a new heart-healthy menu, maybe with the shop's holding a poetry-reading
evening and even some yoga session times. Arthur is also stirred when he discovers that Franco has written what he insists is the Great
American Novel! It is titled: "America Will Be!" However complications soon erupt when Arthur learns that Franco is also heavily
involved with large gambling debts and an aggressive gangster named Luther (Christopher James Webb) and his henchman (Zachary Eisenstat)! This
of course leads to an expected and physical showdown between Arthur, in defense of Franco, against his surly debtors! Into this evolving
millieu the playwright also adds several additional and engaging personalities. Beginning with two local neighborhood cops…male officer James
(De'Lon Grant) and his feminine partner Randy (Karen MacDonald), who begins to show signs of amorous interest in Arthur. Also included are Max
(Steven Barkhimer), a Russian immigrant, owner of the DVD shop next door and Lady Boyle (Beth Gotha) a ragged and elderly street person who
regularly show up for a free cup of coffee! While major elements of this "slice-of-life" drama are certainly obvious and expected,
the fine cast are quite engaging and hold our attention throughout, with solid performances under Spiro Veloudos' well centered direction.
Kudos should also go for Matthew Whiton's finely atmospheric donut shop setting. Now playing through February 4, 2012. The Christmas Revels Now at Harvard University's Memorial Hall in Cambridge, Mass. in the ever impressive Sanders Theatre is the 41st annual production of "The Christmas Revels," (A Yuletide Celebration of the Winter Solstice). Set in 16th Century France in a small sea-side fishing village, a large traditionally costumed, onstage 80+ member cast of singers, dancers and musicians (including a large contingent of small, spirited and fully voiced children) perform either together, or often as smaller groups, a succession of more than 30 classic folk-based songs and dances. The celebration stars Tim Sawyer, Sabrina Mandell and Mark Jaster as the village's most prominent members of the community's festive "Guild of Fools." Beginning with a 16th Century overture for brass orchestral quintet, the auditorium resonates with many genuinely memorable episodes. Amongst these were the large aforementioned children' ensemble's "March of the King's," the classic folk-song "Bouree Chainee de Rivarennes," vividly performed by a bevy of animated French country dancers, and the classic Middle Eastern Sharq Trio's rendition of an old Lebanese and Palestinian line dance replete with artfully sonorous hand-cymbals and deftly pulsating drum beats. Still later, the capacity audience was enthralled by a ghostly spirit, outfitted as a skeleton gamboling about the stage, enhanced by strobe lights and billowing white sheets to an enchanting 13th Century Christian hymn! The evening's first half culminated with David Coffin, the company's Master of Ceremonies, leading the full cast, together with the audience, robustly singing "Lord of the Dance" as they all marched out for intermission. Most notable of the evening's Part Two was the lively "Abbots Bromley Horn Dance," later soloist Salome Sandoval grandly chanting an ode to "The Angel Gabriel," and finally all finishing with the gathering's traditional "Mummer's Play" marked by a lively sequence representing the death and rebirth that regularly transpires in nature! This yearly, captivating, family-friendly treat is now playing through December 29, 2011. It is most certainly recommended for all! (My Grade: 5) The Nutcracker Now at The Stoneham Theatre in Stoneham, Mass. is the New England Premiere of "The Nutcracker," a new adaptation of E.T.A. Hoffman's classic tale. Created in 2007 by Chicago's House Theatre, it features a contemporary book by Phillip Klapperich and Jake Minton with new music by Kevin O'Donnell and equally new lyrics by Jake Minton. Of course, there's no ballet here, either! It's now a year later at Christmas time since young 12 year old Clara's (Sirena Abalian) family had received notice that Fritz (Danny Bryck), their son, and Clara's brother, had been killed in action while serving his country as a Marine. As expected, soon Clara's world-traveling Uncle Drosselmeyer (William Gardiner) comes to visit, with a very special toy gift for his young niece. He's fashioned a very special doll-styled replica of her deceased, war-hero brother, Fritz. Since her grand old uncle is also fully aware of the family's troubles with a host of nasty household rats, lurking in their home's walls, he also devised a plan to rid the family of these offensive intruders. In a bright story-twist, he recreates Clara's few sparse home-made toys: a tattered cloth monkey (Grant MacDermott), her self-made robot (Nick Sulfaro) and Phoebe (Alycia Sacco), her rag doll, all now come to life, together with the now also "alive" hero-brother Fritz, then sparked by very dramatic and creative lighting, this same ensemble with a few others, now adorned with new artificial ears and tails, with everyone speaking like English cockney roustabouts, finally do go down to defeat as the highly unwelcome rodents! While most of the evening's new songs did not really seem to add much of the genuinely festive interest to this compelling view of a family's wartime grief, otherwise young Clara's emerging sense of hope did serve to help restart her family's holiday spirit! Of course commendations are due for Christopher Ostrom's aforementioned dramatic lighting, Elisabetta Polito's amusing costumes, music director Matthew Stern's fine accompaniment and Caitlin Lowan's well focused direction. Now playing through December 22, 2011. (My Grade: 4) THREE VIEWINGS The New Repertory Theatre, in residence at the Arsenal Center for The Arts in Watertown, Mass., presents "Three Viewings" by Jeffrey Hatcher. It is now being performed there in the center's intimate Black Box Theater. The evening consists of a trio of separate monologues, set in a simple funeral parlor in a minor midwestern town. Each address is given on or before a simple sofa on a bare stage. Emil (Joel Colodner), the funeral director, peppers his simplistic condolences with multi-repeated declarations of "I Love You" to Tessie, his offstage and unseen love interest. After awhile, it is apparent that she's a real estate broker who may harbor a self-interest in selling the homes left by the deceased on view in Emil's funeral parlor. It is also apparent that Emil is pinning his hopes on a lady that he neither really knows, nor totally comprehends! The second monologue centers on a young woman (Christine Power) who is called "Mac." She subsists by her wiles, regularly pilfering jewelry from the bodies on view, in this somber place. She's done this for many years. Today, she's come to attend her grandmother's wake and to consider what her future might hold. As she muses about her opportunities and regrets she also capriciously begins to imagine herself being interviewed on television by Charlie Rose, the well known interrogator. Of course, their nationally televised discussion is focused on her many years of thievery! The last monologue concerns recently widowed Virginia (Adrianne Krsyansky). Her husband Ed Carpolotti, finally succumbed after a series of heart attacks, just a week before Christmas. Now, she's suddenly becoming aware of her deceased spouse's many illegal business dealings, leaving her with his monumental debts. She's also learns that she's about to lose her home, thanks to this crisis. Even more troubling, she then meets Dino Desperbio, her late husband's most prominent business associate, with highly disquieting results. Later, she also receives a threatening note demanding one million dollars as ransom in return for not exposing a long list of her husband's misdeeds! All of these new revelations leave her amazed, reeling and fearful. This curiously engaging, often bleakly amusing and somehow positive treatise on three troubled mourners is certainly well performed by the capable cast under Jim Petosa's assrued direction. It is now playing through December 18, 2011. (My Grade: 5) La Cage Aux Folles Now at Boston's Citi Arts Performing Center's Shubert Theater is "La Cage Aux Folles," a touring revival production of the highly popular 1983 Broadway success. Based on the identically-titled French theatrical motion picture success of the 1970's, followed by the 1996 American movie remake entitled "The Birdcage." This presentation, of course, features book by Harvey Fierstein and music by and lyrics by the legendary Jerry Hermann. The play unfolds in and near the gaudy nightclub on the Riviera, after which all of these productions were named. Georges (George Hamilton), the manager of said club and Albin (Christopher Sieber) his sweetheart, the cabaret's prominent transvestite attraction (known as "Zaza"), have loved each other and lived together for a very long time. Jean-Michel (Billy Harrigan Tighe), is George's young adult son (the result of a long past brief flirtation). Although he's been raised by Albin, as his proxy "mom," Jean-Michel hesitantly tells his dad about his intentions to marry. Because he's troubled by Albin's flamboyant lifestyle, he's hesitant about introducing his fiancé, Anne (Allison Blair McDowell) to his relations. Certainly, the fact that her father, M. Renaud (Bruce Winant) is the leader of the T.F.M. (tradition, family and morality) movement bothers him greatly! Accordingly, with George's help, Jean-Michel hopes to fool his intended in-laws into believing that his family are just plain, typical folk. Now, the overly feminine and ornate "Zaza" will be introduced as just plain old "Uncle Al." However, as their ruse begins to succeed, a familiar pal appears and unknowingly exposes Albin as "Zaza." This turn of events then quickly evolve into a grandly comic series of ups and downs culminating in Anne's haughty and straight-laced parents finally approving of Jean-Michel and Anne being married! Of course, Jerry Herman's fine musical score featuring a bevy of splendid numbers such as," We are What We Are!," "I Am What I Am!," "Masculinity," "The Best Of Times," and certainly the grand title song, resound long after the final curtain! Of course, loud bravos are also due for the lusty, high-kicking all male, female-attired six member chorus-line entitled, "Les Cagelles," outfitted in Matthew Wright's bright, colorful costumes, with high marks for Lynn Page's lively choreography and Jason Carr's vivid orchestrations and dance arrangements. Lastly, many kudos are also due for Director Terry Johnson. Now playing through December 18, 2011. (My grade: 5) High Now at the Cutler Majestic Theater in Boston is "High," a new play by Matthew Lombardo. Set in a Catholic rehabilitation center, its focus is on the interaction between Sister Jamison Connelly (Kathleen Turner) and 19 year old Cody Randall (Evan Jonigkeit). Sister Jamison is not your standard nun, as a recovering alcoholic, who had spent a few homeless years out on the City's mean streets, her conversations and council are laced with the strong 4-letter talk of her recent past. Similarly, dressed in stark, dark contemporary clothing, eschewing the standard Nun's habit, her return to the religious is marked only by the small crucifix pinned to her vest. Cody, who had tried to end his life with a heroin overdose, was found in a squalid motel room lying in bed with a deceased 14 year old boy whose addiction had proved to be fatal! As the play unfolds, we learn of Cody's highly troubled history. His early pre-adolescent years were framed by his wretched mother, a prostitute who sent him out regularly to bring home new customers for her. Father Michael Delapp (Timothy Altmeyer), the rehab center's manager, had been instrumental in persuading the legal authorities to allow him to try and help Cody into a better life. We later learn also that this good priest also held personal reasons for his concern for Cody. As expected, the difficult young addict initially refuses to cooperate with Sister Jamison. He even blatantly mocks her by disrobing, and then--totally nude-- challenges her faith and resolve by taunting her sexually! However, since this drama is not constrained by the usually Hollywood-styled hopeful conclusion we sometimes expect, here we have instead a mixed and contemplative outcome. Extremely well acted by the expert small cast, with solid praise for Kathleen Turner and especially Evan Jonigkeit as the dismayed teenager. Even though Cody's history should have been more developed with Father Delapp's background, being even more deficient its still worthy of attention! Now playing through December 11, 2011. Ain't Misbehavin' Now at the Lyric Stage of Boston is their new production of "Ain't Misbehavin,'" a musical revue of the music and times of the legendary Thomas "Fats" Waller. Conceived by Richard Maltby, Jr. and Murray Horwitz, it opened on Broadway in 1978 and went on to win the Tony Award as the Best Musical. It has continued on as a popular favorite ever since Featuring a cast of five talented and effervescent performers, it zestfully evokes the spirit and levity of the 1930's era in New York's Harlem neighborhood! Although Waller dies at the untimely young age of 39 in 1943, most of his recordings can still be found on most DVD record lists to this very day. His appearances in movies of that era pop up often on late night TV. This show highlights nearly three dozen pieces of this great pianist, vocalist, songwriter and versatile comic entertainer's musical repertoire! Starring Calvin Braxton as Fats, with lively full vocal and dancing support from Roving Long, Lovely Hoffman, Lori Tishfield and Davron S. Monroe, the next two hours and ten minutes (including a brief intermission) are filled with the wonderful songs that will always be part of this great star's legacy. Amongst the evening's most memorable moments were, of course, the title tune, as well as Fats' equally popular hit, "Honeysuckle Rose." Other tunes of similar importance included "I've Got a Feeling I'm Falling," "Mean To Me," "Keeping Out of Mischief Now," "Sit Right Down and Write Myself a Letter," and "I Can't Give You Anything But Love." Comparably comic winners also consisted of "Your Feets Too Big," (Dinner was…) "Fat and Greasy," "How Ya Baby," and (Get Some…) "Cash for Your Trash." Fats' technically virtuoistic piano playing was at the center of "Handful of Keys," "Jitterbug Waltz," "The Joint is Jumpin'" and "Spreadin' Rhythm Around." Also amongst the evening's most provocative moments was Fats' classic and passionate declaration against racism: (Why Was I Born So…) "Black and Blue?" Spiritedly directed and choreographed by Josie Bray with strong accompaniment conducted by Catherine Stornetta, this lively, toe-tapping entertainment is now on view through December 17, 2011. (My grade: 5) Captors Now at Boston University Theatre is the World Premiere of "Captors" by Evan M. Wiener. At the end of WW II, Adolf Eichmann, the major Nazi military official who served at the primary enforcer of "The Holocaust" throughout the War, was able to evade capture as a war criminal. He then fled to Argentina, where so many of his fellow mass murderers had also found safe haven. In 1960, after living there in relative calm and safety for 15 years, he was captured by Mossad agents (Israel's equivalent to our Central Intelligent Agency). This drama concerns that short ten day period, when this notorious killer was confined as a prisoner, while his captors decided on a plan to smuggle him out of Argentina and from there on to judgement in Israel! It is based on the published account, "Eichmann In My Hands," by his main interrogator Peter Malkin (Louis Cancelmi). Their interaction unfolds now as Malkin describes his past efforts to Cohn (Daniel Eric Gold) his current biographer. As Malkin, often assisted by Hans (Christopher Burns) and Uzi (Ariel Shafir), his fellow Mossad operatives, tries to gain their prisoner Eichmann's (MIchael Cristofer's) confidence. By so doing, hopes thereby to carry out a more trouble free exit plan. Expecting only an inhuman and hostile beast, he's alarmed to see his captive also as just an elderly and frail prisoner. Even more disconcerting, this strange twosome also seem to be building an unsettling relationship to one another. This, of course, raises the prime notion of evil, and how, even the most well intentioned of us may respond when confronted by it! Well acted by the fine, small cast under the assured direction of Peter DuBois, this compelling and provocative drama is now playing through December 11, 2011. The Brother/Sister Plays Now playing at The Boston Center for The Arts is the area premiere of "The Brother/Sister Plays" by Tarell Alvin McCraney, a presentation of three inter-related dramas performed on two separate evenings. The first is performed on evening one and the second and third on evening two. This trilogy comes here as a total experience after its acclaimed presentation at Chicago's Steppenwolf. The first play entitled: "In the Red and Brown Water" centers on a young woman named Oya, residing in a housing project in the fictional bayou community of San Pere, Louisiana. Everyone in all three plays have been given West African names by the playwright. Although Oya excelled as a track star while in high school, she later turned down a college track scholarship, in order to care for her ailing mother, who has also died, since. Now disheartened, she hopes for motherhood, but is unable to become pregnant, even though she's been courted by two suitors. Ogun hopes someday to be able to start his own auto repair service, while Shango, a charismatic womanizer, plans to join the military. Into this same mix is also young Elegba, responsible for a young teenager's unwanted pregnancy. Notwithstanding all of this, Oya remains frustrated and discouraged. The second play, entitled "The Brothers Size" takes place twelve years later. It concerns two siblings, still in the same Louisiana town. The aforementioned Ogun Size, now manages his own auto repair shop. He tries his best to harness Oshoosi, his happy, erratic younger brother, whose recently been released from jail. Ogun is very concerned about the young, carefree Oshoosi who regularly seems to welcome trouble. The younger often fantasizes about taking off in his imaginary new automobile and motoring off to some fascinating, far off exotic place like Madagascar! Ogun's plans are then somewhat disrupted by the arrival of the previously mentioned Elegba, who also spent some prison time with Oshoosi. The final play: "Marcus; or The Secret of Sweet" centers on sixteen year old Marcus, the young son of the now deceased Elegba. Marcus struggles with his own sexual identity. The events here occur four years later. In this small community of San Pere, Louisiana, the term "sweet" is a euphemism for homosexuality. The play's focus is on the youngster's evolving acceptance of himself and of his own potential. The splendidly, accomplished nine member cast handle their roles vividly, with special praise for Melinda Craigwell as Oya, Johnnie McQuarley and James Milord as Ogun and Oshoosi Size, and Hampton Fluker initially as Elegba and then later as the younger Marcus. Extra commendations must also go to the remaining excellent ensemble. Chris Leon, Michelle Dowd, Natalia Naman, Juanita A. Rodrigues and Jerem Goodwin who strongly handle their varied assignments. "In the Red and Brown Water" was assuredly directed by Megan Sandberg-Zakian, while "The Brothers Size" and "Marcus; or The Secret of Sweet" were both well directed by Summer L. Williams. This highly compelling, well-written and performed view of a small southern community is now playing through December 3, 2011. (My Grade: 5) The Nutcracker Now at Boston's Opera House, The Boston Ballet once again presents its grand seasonal favorite, "The Nutcracker." However, this time, this treasured holiday treat's resplendent sets and costumes will be featured for the last time. Next year 2012 will mark the introduction of completely new and different sets and costumes. As always, the beloved story, the company's majestic dancing, and Tchaikovsky's sublime music will forever be the main attractions. Now, once more, at the Silberhaus Home on Christmas Eve in 1835, in a small town in Germany, young, pre-adolescent Clara (Rachel Harrison) celebrates the holiday with her family and young friends. Clara's Godfather (known as "Uncle") Herr Drosselmeier (Sabi Varga) arrives with gifts, as the family's pet bear (Robert Kretz) cavorts merrily. Drosselmeier has come with two large dangling dolls: Harlequin (Lawrence Rines), and Columbine (Dalay Parrondo), who suddenly erupt into dancing life! He has also brought Clara a colorful, toy nutcracker. Later, that night, after everyone has gone, and the whole family is asleep, Clara returns to play with her new toy. Without warning, a group of house mice arrive with a big mouse king (Paul Craig) as their leader. Then, as the household's beautifully decorated Christmas tree unexpectedly rises to a super height, so too does Clara's toy Nutcracker become taller and ready to challenge the mouse king! After killing him, Drosselmeier reappears and magically turns Clara's toy into a handsome cavalier (James Whiteside). Then, they all depart for "The Land of Snow" ready to meet and greet the majestically dancing snow queen and king (Misa Kuranaga and John Lam). Then Drosselmeier, Clara and her handsome cavalier board a giant balloon to fly off to the extraordinary "Kingdom of Sweets!" There, they are dazzled by a host of fabulous dancers. Initially, they're entertained by a Spanish Trio (Rie Ichikawa, Bradley Schlaghesk and Artyom Maksakov), all brilliantly costumed, with castanets also loudly clicking. Next, sensually stirring Arabian Dancers (Kathleen Breen Combes and Lasha Khozashvili) gracefully glide their way across the dimly illuminated exotic setting. Then a duo of dainty Chinese (Adiarys Almeida and Paulo Arrais) deftly cavort before a large group of colorfully twirling, hand-held umbrellas, followed by a loftily enthralling "Pastorale" dance (Jeffrey Cirio, Dalay Parrondo, and Sylvia Deaton). Then, burst forth a threesome of high vaulting, brightly garbed Russians (Isaac Akiba, Robert Kretz and Paul Craig), who brought the capacity audience to standing cheers! This was followed by the sumptuous "Waltz of the Flowers" brilliantly centered by the captivating "Dew Drop" (Whitney Jensen). All of this finally culminating with the genuinely "Grand Pas De Deux" splendidly danced by Sugar Plum (Lia Cirio) and the stately and robust cavalier. Their visit now ended, Clara, her lively cavalier and "Uncle" Drosselmeier re-enter their jumbo balloon to return to her home! Besides all of the evenings' wonderful dancers, high praise is also certainly due for Mikko Nissinen's engaging choreography, Helen Pond and Herbert Senn's radiantly impressive sets, David Walker and Charles Heightchew's vividly varied costumes and of course the grand, full orchestra conducted by Jonathan McPhee. This memorable final version, soon to be redefined, is now playing through December 31, 2011, it is most definitely recommended for the entire family. (My Grade: 5) Dogg's Hamlet, Cahoot's MacBeth Now at the intimate Plaza Black Bock Theatre in the Boston Center for The Arts. "The Whistler In The Dark Theatre Ensemble" presents their new production of "Dogg's Hamlet,Cahoot's MacBeth," two short plays by Tom Stoppard. Written by the playwright in 1979, it is based on information learned by the author about conditions in his native Czechoslovakia (when it was still under Communist control) during a visit by him there. The first one-act play, "Dogg's Hamlet" is set at a school where young pupils, supervised by their instructor, are performing a grandly minimized version of "Hamlet" in the language of "Dogg" (a zany doggerelized version of the Bard's legendary tragedy.) Their bizarre rendition is then interrupted by a delivery man who arrives with a variety of props and related objects for their play. As he tries to comprehend their efforts he's unpredictably besieged and ridiculed as they whiz through their abbreviated interpretation of the classic! The second play, "Cahoot's MacBeth" centers on a group of actors preparing to perform the aforesaid classic drama before a small gathering of people in a private residence. As their portrayals begin to unfold, the play is then vividly enacted, much of it in semi-darkness and or in full darkness, throughout the small theater. From start to finish the cast moves in and out of the audience, effectively utilizing flashlights for full dramatic impact. However, in the midst of their performances, the totalitarian state they're all living in suddenly asserts itself! A highly curt and assertive police inspector, without any warning, shows up. He's there to threaten them all about their dangerous activities! These two small, brief but very provocative plays are very persuasively performed, in contemporary dress, on a bare stage, with few props, by a small but extremely competent cast. Solid kudos are most certainly deserved for Chris Larson, Becca Lewis, Jen O'Connor, Elisabeth Rimar, Aimee Rose Ranger, Scott Sweatt, Michael Underhill and Mac Young with an extra special nod for Nate Gundy as the aforesaid strong-minded police inspector as well as similar approval for Director Meg Taintor. Now playing through November 19, 2011. (My Grade: 5) The Phantom Tollbooth Now at Boston's Wheelock Family Theater is their new production of "The Phantom Tollbooth" featuring book by Norton Juster (this classic tale's original author) and Sheldon Harnick (who also wrote the lyrics to Arnold Black's music). The classic story's focus is on young, pre-adolescent Milo (Jeffrey Sewell), who's very bored with everything! When he is given as a strange gift a mysterious magical tollbooth, donning a similarly peculiar, brightly colorful pasteboard-artificial automobile, he's joined by his faithful, watchdog companion named "Tock" (Michael Wood) as they both drive (actually walk) into a whole host of amazing adventures! They arrive in a strange, fanciful land defined by both words and numbers. There they encounter a bevy of fantastic inhabitants. Ranging from King Azaz (De'Lon Grant), the Mathemagician (Brian Richard Robinson), the demon of insincerity (Aimee K. Doherty), the terrible trivium as well as the mid get-giant (all portrayed by Robert Saoud) and the senses taker (Jenna Lea Scott), amongst many similarly outlandish natives! Milo and Tock are then encouraged by Azaz (who is the King of Dictionopolis) to scale the mountains of Ignorance to help release the imprisoned Princess of Rhyme (Kami Rushell Smith) and her cell mate, The Princess of Reason (Courtney Sullivan). Faced with each new escapade Milo and the helpful Tock must not only jump to conclusions, and then find themselves in the doldrums, but then also dive into the Sea of Knowledge. Of course, all ends well when Milo and his trusted watchdog return much wiser to the real world. High praise is certainly due for the large, on-stage, nearly 30 member young cast, under Jane Staab's assured direction. Similar commendations are also a must for Lisa Simpson's colorful costumes, Laurel Conrad's lively choreography and Matthew T. Lazure's brightly painted, box-like structures which effectively define the show's many time and place changes. Certainly the splendid full-orchestral accompaniment conducted by Robert L. Rucinski also added greatly to this grand family-friendly presentation. Now playing through November 20, 2011. (My grade: 5) BEFORE I LEAVE YOU Now at Boston's Calderwood Pavilion's Wimberly Theater is the world premiere of "Before I Leave You" by Rosanna Yamagiwa Elfaro. The 72 year old playwright, a 42 year resident of Cambridge Mass., (which is the setting of her new play) was recently appointed as a Huntington Theater Playwriting Fellow. Her play centers on the interaction of four long-time middle aged friends living in the aforementioned Boston suburb. Koji (Glenn Kubota), a Japanese-American university professor, has been married for forty years to Emily (Kitty Goldfarb), an attractive, Jewish-American freelance artist. They have one young adult son, 22 year old Peter (Alexis Camins), who after four years at a prestigious prep-school, followed by a similar stint in therapy, now works at a local supermarket as a "bagger." To him mom's dismay, he's also heavily attracted to a Vietnamese divorcee. Jeremy (Ross Dickell), a professor who is writing a novel, is Koji and Emily's best friend. His divorced sister, Trish (Karen MacDonald), a recently unemployed realtor, fresh out of nearby New Hampshire, has just come to live with him. Problems besetting this quartet of long-time friends develop as Ms. Elfaro's play skirts to and fro from a popular local Chinese restaurant to either Jeremy's or Koji and Emily's living room. It all begins with a seemingly medical emergency erupting with Jeremy's heavy coughing and dizziness, which is later downplayed at the local E.R. However, the play's full focus does not appear until the second act. Here we find Koji as the director of a student-based drama about the internment of Japanese-Americans during WWII. Although written by a lovely Japanese-American woman, who is twenty years younger than him, Koji now finds himself totally enamored with her and announces to his wife Emily that he plans to divorce! This turn of events sparks the long festering hostility between Koji and his son Peter. It also serves as the catalyst for a resounding four-letter styled denunciation of the self-centered and arrogant Koji by the usually shallow and unsubstantial Trish. These developments then pave the way, not surprisingly, for Jeremy's long-submerged attraction to Emily. While the play's first act seemed to be somewhat lengthy and inconclusive, commendations are certainly due for the much stronger and consequential second act. Of course, praise is also due for the splendid cast under Jonathon Silverstein's well-centered direction. Now playing through November 13, 2011. (My Grade: 4) The Divine Sister Now at The Roberts Studio Theatre in the Boston Center for the Arts, Speakeasy Stage Company presents the area premiere of "The Divine Sister" by Charles Busch, his most recent off-Broadway success. As expected, it is a grandly amusing spoof of the long list of Hollywood's nun and convent based movies, stretching from "The Song of Bernadette," "The Bells of St. Mary's," and "The Nun's Story" to "The Singing Nun" and "The Sound of Music!". Set in Pittsburgh's financially insolvent and physically deteriorating St. Veronica's Convent in 1966, the play centers on the order's feisty and assertive Mother Superior (Jeffery Roberson in "drag"). She's assisted by the sprightly highly colloquial Sister Acacius (Paula Plum). Besides the aforesaid dilemmas, they must also manage Agnes (Sasha Castroverde), a young postulant who's prone to holy visions, in such diverse places as pastry and used underwear and also believes that she has healing powers. Adding to this is the arrival of Sister Walburga (Kathy St. George), a stealthy and seemingly ominous German nun, on a special and secretive mission. However the major problem, as stated, is the Convent's severe, crumbling condition, and its impending replacement by a completely new edifice. Hoping to make this change as reasonable and easy as possible, the wily and self-reliant Mother Superior hits upon what she considers to be a splendid solution: She will visit the area's very wealthy widow, Mrs. Levinson (Ellen Colton), and convince her to allow these troubled nuns to use her stately home as their replacement. Unfortunately, since Mrs. Levinson is a devout atheist, her answer to the Mother Superior's request is a resounding "No!" Notwithstanding this dire development, since Jeremy (Christopher Michael Brophy), a representative from a visiting Hollywood film studio, is also there expecting to use all of this for a big future movie, the crafty Mother Superior immediately seizes this change as her prime opportunity. Consistently amusing from start to finish, under Larry Coen's strong direction, this immensely amusing farce is highly recommended and is now on view through November 19, 2011. (My Grade: 5) Legally Blonde…The Musical Recently concluded, after an all too brief engagement at the North Shore Music Theatre in Beverly, Mass. was their new production in-the-round of "Legally Blonde…The Musical," based upon the popular 2001 Hollywood movie starring Reese Witherspoon, and now refashioned and featuring music and lyrics by Laurence O'Keefe and Nell Benjamin with book by Heather Hach. Beginning, as before, with lovely blonde Elle Woods (Kelly Felthouse), a dedicated sorority sister as the University of Southern California, who's undeterred when she loses her wealthy boyfriend Warner Huntington III (Will Ray), when he moves east to attend Harvard University. Undiscouraged, she decides to try to win him back by following him to Cambridge, Mass., and Harvard. Although shrugged off as just a "dumb blonde" interloper, after being enrolled as a law-school student, she surprises her fellow students by her hard work and effectiveness. She's helped greatly by fellow local student Emmett Forrest (Barrett Hall), after she fends of the unwanted romantic advances of Professor Callahan (Paul Jackel), her strict and demanding instructor! As Elle gradually begins to see Warner, her former love, as just a pompous playboy, her romantic interest in Emmett begins to blossom. A charming secondary plot also evolves as Elle seeks advice from Paulette (Gaele Gilliland), the friendly owner of a local beauty salon. There a warmly amusing romance develops between Paulette and Kyle (Timothy Hughes), a vividly lithe and highly comic UPS delivery man. Of course, the evening's lively musical score, featuring more than 16 splendid songs, many with clever lyrics, served throughout with resounding comic effectiveness! They went from "Daughter Of Delta Nu" "Serious" (to Warner) and "The Harvard Variations," to Professor Callahan's legal decisions resulting in "Blood In The Water!" as well as Emmett's lively ode to his own "Chip On My Shoulder" and the show's fine title song! Bravos are also certainly a must for the fine full orchestral accompaniment conducted by Eric Alsford, Paula Peasley Ninestein's highly colorful costumes and especially the lively choreography and strong direction by Nick Kenkel. (My Grade: 5) OR The Lyric Stage Company of Boston is currently presenting their production (a Boston premiere) of "Or," by Liz Duffy Adams. Set in mid-1660's London, it offers a slight, often lightly comic take on "Restoration" comedy, with its focus primarily on Aphra Behn (Stacy Fischer). After her early years acting as a spy for the English crown she eventually evolved as a playwright, poet and novelist. She's now considered to be England's first acknowledged dramatist. This play's strange title refers to the "Restoration's" usual description of two separate plays (one before, the other after "the Restoration") with "Or," added between them to divide them. Although Aphra is released from debtor's prison, with the help of King Charles II, (Ro'ee Levi) she resists becoming his mistress, preferring instead to maintain him as her patron while preserving her independence as a playwright. Added to this is Nell Gwynn, (Hanna Husband) the era's most celebrated actress, who's fascinated by the burgeoning play Aphra is writing. However, as Aphra's attempts at writing her latest play are interrupted by these aforementioned visitors, there's also some hasty farcicly-styled concealment by these guests in her room's large closets. Finally alone, Aphra is joined by William Scott (again, Ro'ee Levi), now fully masked, a notorious former spy and collaborator, who may be preparing to assasinate the King! With little more to these interruptions than Aphra's determined efforts to return to her desk, her quill and her unfolding literary efforts, and some witty dialogue, the evening draws to a close. While extremely well-acted by the play's talented trio of performers, under Daniel Gidron's assured direction, playwright Liz Duffy Adams' efforts might have been even better served with just a few more complications. Now playing through November 6, 2011. (My grade: 3.5) PETER PAN Now at "The Three Sixty State State-Of-The-Art Theater Tent," centered in Boston's City Hall Plaza, is their new production of J.M. Barrie's legendary "Peter Pan." Featuring a cast of 23 actors, performing in-the-round, completely encircled by a stupendous 360-degree CGI set. The large capacity audience is thus surrounded by unending projections of sky high computer-generated vistas of London, Peter Pan's "Neverland" destination, as well as his nasty buccaneer nemesis' striking pirate ship! Of course, this classic tale centers on the pre-teenage boy (Chuck Bradley), from the wide blue yonder, who returns to Victorian London seeking someone who will come with him to his far away home to become a surrogate "mother" both to him and his group of lost "motherless" boys. He's come to the residence of the Darlings, where the family's children, especially Wendy (Evelyn Hoskins) and her two younger brothers, John (Tom Larkin) and Michael (Scott Weston), agree to fly off with him to "Neverland." However, their combined flight is not defined here by the usual stage-craft. Utilizing dual lines to reinforce their harnesses, this supremely athletic and agile group not only soar but also rotate, tilt, twirl, gyrate and even exectue their amazing stunts hanging upside down! They're also joined in "Neverland" by Peter's frisky, mischievous and accommodating fairy Tinker Bell" (Emily Yetter), who like the others, is equally adept up high! As expected, complications develop when Peter, Wendy and her brothers, and the band of "Motherless" boys are joined by a grandly cavorting American Indian maiden named "Tiger Lily" (Heidi Buehler), who together outwit and ultimately defeat Peter's main adversary, the dastardly "Captain Hook" (Josh Swales) and his crew of nefarious pirates. This hefty encounter also forces Peter and his companions to also engage his foes in an equally impressive underwater skirmish complete with mermaids (Amanda Goble and Kasumi Kato). Amidst all of these frays, an accomplished crew of puppeteers, with Joshua Holdenas their leader, add as assortment of birds, as well as "Captain Hook's large dragon-like pet crocodile (effectively manipulated from within by two adult males) to the aforementioned hi-jinks. Naturally, all ends well when Wendy and her brothers finally return to their London home and family. Thanks to the enthusiastic response to this grand spectacle, this eye-popping extravaganza's performance schedule has been extended until December 30, 2011. This super family-friendly treat should not be missed! (My grade: 5) Women of Will Now at the Central Square Theater in Cambridge, Mass., The Nora Theater Company presents "Women Of Will" by Tina Packer. First presented in Western Mass. during the summer of 2010 by "Shakespeare and Company," this evening of multi-focused performances of the Bard's scenes together with illuminating analysis and discussion, now comes to the greater Boston area. Conceived and performed by Ms. Packer, she's also assisted on stage by Nigel Gore, all under Eric Tucker's direction. Subtitled "The Overview," the first half of the program begins with "The Taming of The Shrew's" Kate's initially strident assertiveness, ultimately capped by her meek subservience. This is later followed by examination of Shakespeare's treatment of women of "warrior women," especially those in his comedies who are represented as either ill-tempered or virgins on pedestals! Even later, Ms. Packer with Gore's assistance, plumbs aspects of "The War of The Roses," its cataclysmic wars as well as the lengthy succession of revenge cycles. The evening's first half then culminates with a substantial shift in the Bard's emphasis.! "Romeo and Juliet's" balcony scene persuasively equalizes the passion that each of then feel for each other. The evening's second half now centers on women who speak openly about love and even the epoch's power struggles, with some even disguising themselves as men with many also prepared to die for telling the truth.! Prominent amongst this host of valiant females are "Othello's" Desdemona, "As You Like It"'s Rosalind, and also "Julius Caesar's" wife Calphurnia's pleading with him to stay. Finally, the evening's emphasis turn to women aligning with male power. Of course, this lead's to "MacBeth's" famous lady who's obsessed with becoming the Queen after her mate's done all that was necessary to achieve this goal.! This provocative evening then closes with "Pericles" marrying a woman he doesn't know to achieve his father's throne, with him ultimately remaining true to her spirit. This compelling and provocative program is now on view through November 6, 2011. (My grade:5) Collected Stories Now at the Mosesian Theater in Watertown, Mass., the New Repertory Theater presents its production of Donald Margulies' provocative 1996 drama "Collected Stories." Set in New York City's Greenwich Village, the play's action evolves nearly year-by-year from 1990 to 1996 and involves the relationship of middle-aged Ruth Steiner (Bobbie Steinbach) and her young adult student Lisa Morrison (Liz Hayes). Although Ruth had enjoyed some moderate success as a short-story writer while in her early 20's when she'd first arrived in New York, now so many years later, she's become used to her life teaching "writing" at a local university. Her student Lisa has come for some tutorial help. We soon learn that Lisa also hopes to become Ruth's assistant and in due time will be elevated by the older woman. Eventually, as their mentor-protege rapport becomes firm, their association also begins to suggest an almost mother-daughter affinity. Later, during a reflective moment, Ruth confides with her attentive assistant about her early years in New York. She recalls a period of unrequited love between herself and the famed poet Delmore Schwartz. His creative talent and long-spent decline, and unresponsive to her ardor, their connection inevitably became a lost memory, never again to be recalled except until now with her young enthusiastic aide. Then, we later learn that as Ruth's health has gradually been developing into a fatal illness, Lisa has been heavily involved writing a novel, which has been hailed as a great success. Then, after publicly accepting a prestigious award honoring her novel, Lisa returns that same evening to discuss her triumph with her long time and trusted friend. However, Ruth now also knows that Lisa's novel, with only a few major name and place changes, actually fully recounts her previously confidential and heretofore undisclosed recollection of her relationship with the famed and fallen poet! Notwithstanding Lisa's repeated assertions that her novel really stands only as recognition of the literary merit of Ruth's revelations, her older friend and mentor now sees it solely as betrayal. As assuredly directed by Bridget Kathleen O'Leary, the capacity audience must now come to their own determinations. Now playing through October 30, 2011. (My grade: 5) TINY KUSHNER Now at the Intimate Plaza Black Box Theater in The Boston Center for the Arts, the Zeitgeist Stage Company presents the Boston premiere of "Tiny Kushner," an evening of five new short plays by Tony Kushner. Set on a bare stage, amidst a group of unadorned benches, a quartet of accomplished players portray an assembly of various intriguing characters: Maureen Adduci, Craig Houk, Kara Manson and Victor Shopov. The first entitled "Flip Flop Fly!" features two unlikely ladies meeting in purgatory. Although both had lived very long lives, now in this afterlife Lucia Pamela (Kara M.) appears as a radiant young woman draped with a sash proclaiming her as "Miss St. Louis - 1926" Her companion arrives as Geraldine (Maureen A.) the deposed queen of Albania, thanks to the forceful intrusion of dictator Benito Mussolini. They quickly begin to represent Lucia's many fanciful flights from reality versus Geraldine being plagued by historical upheaval. The next playlet immediately confirms playwright Kushner's attraction to elaborate and lengthy titles. "Terminating Or Sonnet LXXV Or 'Lass Meine Schmerzen Nicht Verloren Sein' Or Ambivalence."The German phrase comes from the Grand Opera "Ariadne Auf Naxos" and freely translates as "Let My Pain Not Have Gone Astray!" Here, psychotherapist Esther (Kara M.) tries to fend off the repeated sexual advances of her befuddled patient Hendryk (Craig H.), even though he's gay and she's a lesbian! Their interaction is then further complicated by Dympha (Maureen A.), her sweetheart and Billy Goat (Victor S.) his lover. Then comes "East Coast Ode To Howard Jarvis: A Little Teleplay in Tiny Monologues." As foretold here, we have a host of brief monologues inspired by a notorious tax evasion scheme in the early 1990's. Effectively voiced by Victor S., but often rambling and very lengthy, it ranges from skin heads in jail and housing problems to comments on African America teenage girls and white freedom fighters, amongst many, many other topics. Next is "Dr. Arnold A. Hutschnecker In Paradise." It centers on Richard Nixon's psychiatrist (Craig H.) and a visiting angel named "Metatron" (Maureen A.). While the former president insists that he's not dead, the attending celestial guest becomes increasingly vexed by his attitude. Lastly, is "Only We Who Guard The Mystery Shall Be Unhappy." Blissfully, this final playlet resonates as the evening's best. A month before America's invasion of Iraq, Laura Bush (Maureen A.) appears in paradise to visit the spirits (unseen) of the many thousands of children who died during the previous Gulf War. Moved by her ardor for Fyodor Dostoevsky's great novel: "The Brothers Karamazov," and her fascination with its "grand inquisitor" episode, she chooses three (still unseen) children with whom to read the text. As the author's vividly philosophical words resonate, with still another angel (Kara M.) attending, Mrs. Bush, who had first come brimming with support for the upcoming battle, begins to experience feelings of doubt and remorse. Although very well acted by the accomplished 4 players, this often compelling, occasionally confusing, sometimes overly long and uneven quintet still resounds as a provocative accomplishment! Commendations are also certainly due for David J. Miller's strong direction. Now playing through October 22, 2011. (My grade: 4) The Rocky Horror Show Now at the Turtle Lane Playhouse in Auburndale, Mass., is their new production of "The Rocky Horror Show." The title of this play usually includes the word "picture" as an intrinsic part of its designation. This is due, of course, thanks to this show's great popularity, throughout the 1970's and beyond, as a grandly celebrated (mainly at midnight) cult movie. However, before it exploded as a late night ongoing cinematic event, it began earlier on the London stage as just a bizarre, over-the-top, musical comedy stage play. In both of its manifestations, its book, music and lyrics were always by Richard O'Brien. Now again Brad (Kyle W. Carlson) and Janet (Nicole Vanderlann), an American couple who've lost their way in the English countryside on a dark and stormy evening, stumble onto a mysterious castle. There they meet and become involved with the flamboyant transvestite scientist Dr. Frank 'N' Furter (Tim McShea) and his strong hold of fantastic transvestite followers. Prominent amongst them are 'Riff-raff' (David Lucey) and his main assistant, as well as "Magenta" (Andrea Giangreco) and her aide "Columbia" (Devon Greenbaum). Brad and Janet soon discover that they've arrived at a special time when Frank 'n' Furter intends to reveal his latest creation! It is an artificial human being known as 'Rocky Horror' (Tim Korecky). Unlike Boris Karloff's massive brute of the Hollywood past, Frank 'n' Furter's creature is a young, blonde, muscular athlete! To further complicate matters, Eddie, a flashy street-wise tough, and still later, Dr. E.V. Scott (both played by Harry McEnemy) each arrive at different times to contest Dr. Frank 'n' Furter. All of this is framed by Harry Rotham as the evening's occasional narrator, and of course the show's lively and overly loud musical score. Standouts amongst the night's more than a dozen tunes are: "Science Fiction" (The Doctor Will Build A Creature), "Let's Do the 'Time Warp' Again," "Toucha-Toucha Me!" "I Can Make You A Man" and "Superheroes!" Commendations are due for Richard Itczak's bright and unusual transvestite styled costumes, Julie Ann Lucchetti's lively choreography, Laura Schrader's effective set, and Richard Repetta's strong direction. While the show's fine ensemble and the evening's main players all had grand, powerful voices, accompanied by a small potent orchestra directed by Matt McGrath, the combined occasionally earsplitting results were too often unsettling! Nevertheless, this otherwise engaging show in now playing through October 30, 2011. (My grade: 4) NEXT FALL Now at The Boston Center for The Arts, The Speakeasy Stage Company presents its production of the Boston Premiere of "Next Fall" by Geoffrey Nauffts. This compelling play was nominated for a Tony Award in 2010, after its New York debut in 2009. Set in the present in Manhattan, it unfolds as a series of flashbacks, that move back and forth from 2006, including many episodes during all of the intervening years as well. Adam (Will McGarrahan) a gay and steadfast Atheist, in his early 40's, anxiously remains in the waiting room of Manhattan's Beth Israel Hospital, anticipating word about Luke, (Dan Roach), his younger, devoutly Christian longtime lover. Luke lies critically ill in a coma, having been struck by a taxi. As the play's action moves back and forth in time, we witness the evolution of their deep love for one another. However, because of their strong theological differences, their relationship has always been marked by their contrasting attitudes. Luke has always been vexed by Adam's non-belief and his reflections of an after-life, while Adam is troubled by his lover's unwillingness to reveal his true self to his family. Later, when his divorced parents arrive at the hospital, Adam wonders, if Luke's macho dad "Butch' (Robert Walsh) and his comforting mom (Amelia Broome) will ever come to appreciate his strong and caring love of their son. Still later, as they await Luke's grave outcome, Adam's friend Holly (Deb Martin), owner of a local shop where Adam had been employed, and Brandon (Kevin Kaine), a still-closeted friend of Luke's also join them. The play's title refers to the time, in an earlier period, when Luke had planned to "come out of the closet." Vividly acted by the splendid cast, this provocative drama not only explores the intense yet strongly contentious relationship of these two gay lovers, but also examines many other opposing attitudes, as well. Effectively directed by Scott Edmiston, this stirring play is now on view through October 15, 2011. (My grade: 5) THE FARM Now at the Boston Playwrights' Theater is "The Farm," a new play by Walk McGough. Quoting from the evening's terse and sparse notes:"Running time - 90 minutes, no intermission. Setting: Langley Level B3, 2004." Maybe, an hour and thirty minutes later we'll have some notion of where this play takes place. Obviously, it's a secret location involving clandestine activities. Finn (Dale Place), a troubled operative (probably the C.I.A.), is now "burnt out" by the dangerous and demanding assignments he's had to fulfill. He's come to this stark office seeking counsel from Parker (Lindsey McWhorter), clearly an appointed psychiatrist. Certainly the world we all live in nowadays is a decidedly dangerous and unpredictable place, with seemingly average and unlikely individuals unexpectedly exposed as suicidal bombers, potential assassins or a myriad of other similar possibilities. Accordingly, Finn apparently intends to retire. Having submitted his letter of resignation to Parker, he hopes now that she will authorize him soon to go to "The Farm." The latter institution seems to be some sort of officially designated facility where retired and/or spent former agents will be effectively rehabilitated before being allowed to return to their former, conventional lives. However, when Finn begins to go into great detail concerning his violent past, including the killings he's had to carry out, he begins to unravel emotionally! This becomes especially apparent when spectral-like hallucinations of a past "enemy" (Nael Nacer) begin to plague him, adding some uncertainty to his hopes. Extremely well acted by the small and quite potent cast with high praise for David R. Gammons' well centered direction and especially for Dale Place at the play's center! Now playing through October 23, 2011. (My grade: 5) The Persian Quarter Now at the Merrimack Repertory Theater in Lowell, Mass., is their production of "The Persian Quarter" by Kathleen Cahill. Beginning in the late 1970's during Jimmy Carter's final years as President, this play considers many aspects of the tumultous relationship between the United States and Iran. Ann (Beth Wittig), an ex-nun, now living and working teaching English literature in Iran to local students, spends her free time at the U.S. Embassy's swimming pool flirting with Mike (Jason Kolotouros) an embassy employee. However, soon much changes when Iran's government is overthrown by fundamentalists and Ann, Mike and all the other Americans there are taken hostage! Now a prisoner, Ann finds herself being guarded by Shirin (Christian Pumariega), a young militant Iranian woman dressed in the traditional "hijab." In due time, these unlikely two become embroiled in a lively conversation about Iran's new government, and the U.S. involvement in Iran throughout the "Cold War" era. There's even a moment when we see and hear U.S. diplomat Kermit Roosevelt (Jason Kolotouros, again) jokingly boast about his role in the overthrow of Iran's popluarly elected Prime Minister Mohammad Mossadeq, a few decades ago, leading to the "Shah" as Iran's new boss. Throughout their highly-animated conversation, Ann fervently defends and promotes America's intentions during this period. Act two initially takes place a few years later, when Mike and Ann meet again in the U.S. MIke speaks about his relationship to Kermit Roosevelt while Ann admits she too was told to keep tabs on Mike by the embassy authorities. Then, a few decades later, Emily (Beth, again) Ann's now adult daughter, arrives in 2007, as news magazine photographer at Columbia University intent on photographing Prime Minister Mahmoud Ahmadinejad, who has come there to make a formal address. There, by a very convenient coincidence, she meets Azadeh (Christina, once more), who reveals that she is indeed, Shirin's daughter! Quickly, these two come to understand their connection, so many decades past. Shirin ruefully relates that her mother was jailed for six months by Ayatollah Khomeini's police and remained quite confused, thereafter. Azadeh also tells us about her escape from Iran into Turkey, and how she was then able to proceed to America. Throughout, Rumi (Barzin Akhavan), as the classic poet, the spirit of Iran's acts as an occasional witness to many of these confrontations. He also appears from time to time, as other minor personalities. Although playwright Cahill has indeed tried to explore many of the pros and cons of America's long and complex relationship with Iran, too many other possible explanations remained either undisclosed or unknown. However, many commendations are certainly due for the highly accomplished quartet of players and of course for Kyle Fabel's well centered direction. Now playing through October 9, 2011. CANDIDE Now at The Boston University Theater, The Huntington Theatre Company presents its new production of "Candide," a musical adaptation of Voltaire's classic story. Since its original Broadway debut in 1956, featuring music by Leonard Bernstein, it has undergone many lyric additions and revisions. Beginning with Richard Wilbur, Lillian Hellman, John LaTouche, and Dorothy Parker, still much later Stephen Sondheim and even Leonard Bernstein have contributed their considerable, melodic word-play expertise to this ongoing extravaganza! Now after its multi-year history of positive and occasionally contradictory response, this current presentation , originating in Chicago in the Fall of 2010, fully heralds its masterful status. Nearly three hours long in playing time, its lengthy story unfolds in a succession of comic vignettes. Beginning in Westphalia, Earnest, young and innocent Candide (well-voiced Geoff Packard) eagerly accepts the pronouncements of his wise, old teacher Dr. Pangloss (Larry Yando), that is this is "the best of all possible worlds." He then plans to set out with his beloved, beautiful and youthful sweetheart Cunegonde (grandly sonorous Soprano Lauren Molina) to experience this wonderful creation. Nevertheless, when captivating Cunegonde's testy father hears of Candide's intentions he expels his daughter's untested boyfriend, forcing Candid to see this marvelous world on his own. However, he soon discovers its not quite what he had expected. Carried off by wandering players, he ultimately suffers many whippings during the inquisition while Cunegonde, having also gone forth to undergo her own expectations, is violated sexually a multitude of times before meeting up with her beloved again! They're then helped by a feisty elderly lady (Cheryl Stern) and eventually travel from the old world to the New World. From Cadiz, Cartegena and Eldorado, ranging from Lisbon, Venice and Paris to Buenos Aires they ultimately come to accept life as it actually is. Standouts amongst the evening's multitude of lusty melodies are most certainly the young sweetheart's "Life Is Happiness Indeed," and "Oh, Happy We," and the inquisition's sardonice "Auto da fe," as well as the aforesaid old lady's "I am easily assimilated." Of course, strikingly sung by Cunegonde, the most memorable and revered melody resonates at the grandly operatic "Glitter and Be Gay." Kudos are most certainly a must for Daniel Pelzig's choreography, T.J. Gerckens' dramatic lighting, Mara Blumenfield's splendid period costumes, Daniel Ostling's effective sets and bravos for music director Doug Peck, as well. Lastly, much applause is certainly due for Mary Zimmerman's vivid adaptation and potent direction. Now playing through October 16, 2011. (My grade: 5) Big River Now at Boston's Lyric Stage is their company's production of "Big River," featuring music and lyrics by the late Roger Miller and book by William Hauptman. Based on Mark Twain's classic 1884 novel, "The Adventures of Huckleberry Finn," this musicalized version made its debut at the nearby American Repertory Theater n 1984 and after its Broadway opening the next year, and its triumphant two year run, went on to garner a host of Tony Awards, including Best Musical. Here again is Huckleberry (Jordan Ahnquist), the unfettered and unschooled juvenile, footloose in pre-civil war Missouri, adopted by the widow Douglas (Maureen Keiller) and her sister Miss Watson (Leigh Barrett), with Judge Thatcher (Kevin C. Groppe) as his guardian. Ever rebellious against their "book-learnin'" constraints, after fooling them all into believing he's been killed, Huck runs off to be free! Following a violent confrontation with his old drunken father (Paul D. Farwell) in their former cabin in the woods, Huck takes off to explore freedom, aboard a raft, a float on the big open Mississippi river! However, he's also joined on this same buoyant wooden plank by Jim (De'Lon Grant) Miss Watson's slave, who's run away to avoid being sold! Still later, during their aquatic journey, they're also united with a pair of con-men escaping from a large, angry mob that they have swindled. Claiming to be a deposed "King" (J.T. Turner) and a former "Duke" (Peter A. Carey), these two charlatans commandeer the raft with the intention of selling Jim back into slavery for a profit. Of course, their dastardly plans are overturned and these mountebanks are cracked down on. Jim eventually achieves his freedom and Huck rejoins his original benefactors as well as his longtime old pal Tom Sawyer (Phil Tayler). Noteworthy amongst the show's lively, country and blue grass-styled songs are: "Waitin' For The Light To Shine," "I Huckleberry, Me" (Exactly What I am!), "River In The Rain," "World's Apart," "Free At Last!", and the evening's strong signature, "Muddy Water." Commendations are also due for the large splendid cast, most especially for Erica Spyres as a young woman nearly cheated out of her inheritance by the two aforementioned frauds, as well as Marchant David, Kami Rushell Smith, Marion Smith-Jones, and Nell Anna as a group of highly sonorous slaves. Lastly, kudos must also go to the splendid orchestra conducted by keyboardist Jonathan Goldberg, the effective set by Janie E. Howland and of course Spiro Veloudo's strong direction! Now playing through October 8, 2011. Rent Now at the Mosesian Theater at The Arsenal Center for The Arts in Watertown, Mass., The New Repertory Theater presents its new production of "Rent." This Pulitzer Prize and Tony Award-winning musical which made its Broadway debut in 1996, features book, music and lyrics by Jonathan Larsen, who tragically died unexpectedly at the age of 35 of an aortic aneurysm, on the night before the show's last dress rehearsal. Larson's sudden death, triggered by his unsuspected and misdiagnosed heart problem, denied him of any knowledge of his soon-to-be-great success. Set in a vacant industrial loft in New York City's East Village, a large band of unemployed, non-conformist young adults, live as best they can, in their barren, unheated, unpaid for, warehouse space. The show's vibrant title song serves as their anthem ( "Rent! (How We Gonna Pay The "Rent?") Mark (John Ambrosino), a neophyte film-making wannabe, serves as both narrator as well as being part of the group. The play's rock-pop music and story were somewhat by Puccini's grand opera "La Boheme." Now, as said, reset in late 20th century Manhattan, this struggling assemblage of outsiders yearns for a measure of hope amidst an avalanche of AIDS-inspired despair! The evening's major protagonists include Roger (Robert St. Laurence), a guitar-playing and burgeoning song composer, who is HIV positive. He is gradually falling in love with Mimi (Eve Kagan), a vividly spirited dancer, who in not only riddled with AIDS but also drug addicted. "Light My Candle" musically defines their first moonlit embrace. Later, as Roger becomes increasingly aware of his beloved's dire fate he mournfully chants "Without You!" (my tears dry…but I die). Yet another love begins to evolve between Tom Collins (Maurice E. Parent) a computer focused expert and angel (Nick Sulfaro), a lusty transvestite. As Collins plans for a possible future as a restaurant-owner in the Southwest by singing his ode to "Santa Fe," he then joins his lover Angel by animatedly bursting into "I'll Cover You!" Most noteworthy, nevertheless, of these romantic involvements, is the attraction between lithe and beautiful Maureen (Aimee Doherty) and young and lovely Joanne (Robin Long), who had strikingly brought the large capacity audience up to its feet with her exuberantly tour de force parody of show-biz excess entitled ,"Over The Moon!" Still later, as time passes and most of these free spirits begin to consider new goals and or/different pursuits, the large ensemble changes yet another of the show's memorable anthems. Of course the evening's earlier grand "Seasons of Love" (How Do You Measure A Year In The Life?") is then followed near the show's conclusion with "What You Own!" (You're living in America at the end of the millennium, and you are what you own!) Most certainly many bravos are due for the large and lively cast with praise for John R. Malinowski's dramatic lighting, Kathryn Kawecki's fine 2 leveled, multi-scaffolded, warehouse-like setting, and of course the splendidly lively orchestral accompaniment conducted by keyboardist Todd C. Gordon. Lastly, high praise must go to Benjamin Evett's strong and centered direction. Now playing through September 25, 2011. (My grade: 5) Junkie Now on view at Boston's playwrights' Theater is the premiere of "Junkie," a new one-man play by John Shea. Vividly portrayed by Sean A. Cote, it is the harrowing step-by-step detailed description by the play's solitary exponent of his tortured years as a heroine addict. "When you want to get high, no risk is too great," he describes how he quit school at age 16 and "began getting high at age 17", while ruminating about his father's perpetual drunkenness, he wonders if his mother was ever happy. Later, married to young Theresa, he depicts how they both wallowed in their addictions, ultimately leading to her early death and the loss of custody of their small child. His hopes for regaining his young daughter and his determination to rebuild his life after his discharge from the austerely white, simple, rehabilitation center where his long monologue takes place, is effectively expressed during the play's nearly hour-plus performance time under Brett Marks' strong direction! Now playing through September 4, 2011. The Game Just recently concluded at The Barrington Stage's theater in Pittsfield, Mass., is their return engagement of "The Game," a musical based on Choderlos de Laclos's classic 1782 novel "Les Liaison's Dangereuses." A great audience favorite during its original world premiere at this same theater in 2003, it's back now in a somewhat revised version as before featuring book and lyrics by Ay Powers and David Topchik, with music by Megan Cavallari. This classic tale centering on the shameess scheming of two former aristocratic sweethearts to bring about the moral undoing of several of their closes "friends," has also servd as the basis for several past major movie succeses, most notably in 1988 starring Glenn Close and John Malkovich and again as Milos Forman's retitled film: "Valmont," in 1989. The Marquise de Merteuil (Rachel York) and her former lover, Vicomte de Valmont (Graham Rowat) agree on a wicked plot to bring about the moral debasement of several of their associates! For various reasons they either dislike or despise these colleagues. Amoral seduction by Valmont at Merteuil's direction is framed by their full throated singing of the show's lusty, same-titled song. Primary amongst those that the nefarious Vicomte plans to corrupt are the stately, and devotedly pious Madame de Tourvel (Amy Decker) as well as the sweet, young ingenue Cecile (Sarah Stevens), to the great dismay of her mother Madame de Volanges (Christianne Tisdale) as well as her young lover: Danceny (Chris Peluso). However, as expected, although Merteuil and Valmont vividly do succeed in their vile intentions, each is then ultimately crushed by their own depravity! This is especially so when Valmont comes to realize that he has destroyed one who might have proved to be his true beloved! Amongst the show's fine nearly dozen and a half songs, "Until Then," "They're Only Men," "Wanting Her More," "How Could I Dare?" and "My Sin," stand out as does the show's aforementioned title song! Bravos are also due for the splendidly accomplished large cast, as well as Jennifer Moeller's colorful period costumes, Jeff Croiter and Grant Yeager's silhouette-accented lighting, Michael Anania's simple, yet quite effective scenic design, Daniel Pelzig's classic choreography as well as Ryan Winkles dueling choreography, too. Of course, kudos are also due for the splendid music directed by Darren Cohen and the play's central direction by Julianne Boyd. Love Song Now at The Charlestown Working Theater in the Charlestown neighborhood of Boston, "Orfeo Group" presents the area premiere of "Love Song" by John Kolvenbach. This oddly unusual comedy made its debut at Chicago's Steppenwolf Theater in 2006 and soon thereafter went on to the London stage where it was eventually nominated for the prestigious Olivier Award. Joan (LIz Hayes) and her husband Harry (Daniel Berger-Jones), a successful, business oriented couple, are quite worried about Joan's addled brother Beane (Gabriel Kuttner). Although both Joan and Harry are flourishing, they are also very concerned about Beane's strange, seemingly unbalanced behavior! Compared to his prosperous sister's posh home, Beane's solitary, nearly barren residence could qualify as an empty hovel. Certainly his propensity for illogical and or completely nonsensical utterances are equally troubling. It then comes as quite a suprise when Beane returns to his nearly empty flat to find a lovely young, obviously intelligent and certainly outspoken intruder there, attempting to burglarize his place. Attractive, candid Molly (Georgia Lyman) is of course quite vexed that Beane's home offers so little for her to steal. Even more astounding in this quirky situation is that she and her new, unusual acquaintance should both fall deeply in love! It then follows that Beane is transformed. Where as before Beane, "life was only meant for other people," now even a commonplace turkey sandwich becomes a treat assured of his elation, as well as many other new possibilities. While certainly well acted by this talented quartet, under Risher Reddick's well focused direction, this unusual, occasionally amusing and sometimes meager comedy seemed inadequate. Now playing through August 27, 2011. (My grade: 3.5) Footloose Now at The North Shore Music Theatre in Beverly, Mass. is their production of "Footloose," a musical based on the same-titled highly-popular 1984 motion picture. This new stage adaptation is by the film's original writer, Dean Pitchford, now together with Walter Bobbie, with music by Tom Snow and lyrics by Dean Pitchford. As before, young Ren McCormack (John Jeffrey Martin) and his mom Ethel (Marci Reid), after being abandoned by their dad and husband , move in with relatives in the small midwestern town of Bomont. There in high school, Ren learns that years before, because of a terrible automobile accident in which several teenagers were killed-- including the beloved young son of the town's eminent Reverend Shaw Moore (George Dvorsky)-- dancing, considered as a root cause of the tragedy, has been banned in Bomont! Of course, early love blossoms when Ren meets the stately minister's lovely young daughter Ariel (Chelsea Morgan Stock), with complications. Now Ren decides to try to get the town to change the no-dance law that had been championed by Ariel's austere father. With some sage advice from his mom, Ren's efforts to change the rigidly disheartened cleric's mind ultimately succeed! The large, mainly youthful and energetic cast perform many of the show's nearly 15 songs very well together with the play's active choreography. Especially noteworthy amongst the supporting cast were Maureen Brennan as an involved local citizen and Matthew Dorsey as Willard, a bumbling teenager learning how to dance. "I Can't Stand Still," "Still Rockin'," "Can You Find It In Your Heart?," "Mama Says," and the show's title tune, stand out amongst the aforementioned list. Commendations are also due for Jose M. Rivera's bright costumes, the lively orchestral accompaniment conducted by Eric Alsford, Vince Pesce's previously noted choreography and Mark Martino's strong direction. Now playing through August 28, 2011. (My grade: 5) ALL'S WELL THAT ENDS WELL Now at The Boston Commons, is the 16th annual, open-air, free-to-the-general public, presentation of the Commonwealth Shakespeare Company. The summer's fully professional production is The Bard's rarely performed dark-to-comedic problem play "All's Well That Ends Well!" Sweet, young Helena (Kersti Bryan), the ward of the haughty Countess of Rossillion (Karen MacDonald), is very much in love with the aforesaid Dame's disdainful son, Bertram (Nick Dillenburg). However, since his self-righteous mother disapproves of the match, when her self-centered son departs for France, to serve the ailing French King (Will Lebow), the forlorn Helena decides to follow him there. Being the actual daughter of a physician, and consequently having some medical awareness, she's able to successfully cure the sick King. In response, the highly grateful Monarch rewards her by allowing her to choose, any one in his service, to become her husband. Of course, she selects Bertram! Thereafter, even though the King insists that he wed Helena, the elitist egoist runs off to Florence to engage in a series of schemes to elude the marriage. Notwithstanding all of his trickery, Helena does indeed, win him by the play's finale. Especially prominent amongst the large accomplished supporting ensemble were Remo Airaldi as a feisty Lord, as well as Larry Coen, Wayne Fritsche, Siobhan Juanita Brown, McCaela Donovan, Olivia D'Ambrosio, and Hilary Asare as various court members. Commendations are also due for Jon Savage's bright multi-paneled set, and Seth Bodei's colorful costumes. Kudos must also go for David Remedlo's compelling sound design and Justin Townsend's effective lighting. Of course, Steven Maler's strong direction certainly also merits applause! Now playing through August 14, 2011. (My Grade: 5) THE SOUND OF MUSIC Now at The Robinson Theatre on The Waltham High School campus in Waltham, Mass., The Reagle Music Theatre presents its new production of "The Sound of Music," featuring music and lyrics by Oscar Hammerstein II, and book by Howard Lindsay and Russell Crouse. It's based on the actual events involving the famed Von Trapp family in their Austrian home, in the years just before the onset of World War II. Maria Rainer (Sarah Pfisterer), the pretty, young, vibrant and majestically sonorous postulant, who leaves the nearby nunnery to become governess to the seven young Von Trapp children, is at the center of this grandly melodious and captivating musical play. These juveniles are marshaled in a virtually militaristic manner, by naval Captain Georg Von Trapp (Patrick Cassidy), their stern, saddened, widowed father. The family's new fresh and lively resident-teacher will now begin to use her vivid musicality to engage and revitalize not only all of her new and eager youngsters but also to melt the sorrowful navigator's heart and even later to marry him as well! "My Favorite Things," "Do-Re-Mi," "Sixteen Going on Seventeen," "The Lonely Goatherd," "Edelweiss," "Climb Every Mountain," and of course the play's memorable title song are the praiseworthy strains leading to her success. Other members of the large, active cast, who were also especially noteworthy include Susan Scannell as a divorced, nearby neighbor who shows some early romantic, and then eventually rejected, interest in Captain Von Trapp; Jenny Lynn Stewart as the local nunnery's grandly voiced Mother Abbess; and also the youngest, smallest and amongst the most auspicious of the seven Von Trapp kids, Emma Schaufus. Commendations are also due for Richard E. Schreiber's many, varied and impressive sets, Susan M. Chebookjian's fine choreography, David Wilson's dramatic lighting and the splendid, full orchestral accompaniment conducted by Jeffrey P. Leonard. High praise must also go to Larry Sousa's well centered direction! Now playing through August 14, 2011. (My Grade: 5) MATT AND BEN Now at The Central Square Theater in Cambridge, Mass. is their new production, a Boston premiere, of "Matt and Ben" by Mindy Kaling and Brenda Withers. It's certain that most of the largely youthful capacity audience in the Central Square Theater that evening were fully knowledgeable about the sudden rise to fame and fortune of two local screen-actor-wannabe's, way back in 1998. Of course, some of the few old-timers there were probably not so fully aware! Matt Damon and Ben Affleck, two young and long-time pals, from Cambridge, Mass. had always dreamed of becoming successful actors. After only a few years of struggle in Hollywood in the mid 90's, they achieved sudden, overnight superstardom in 1998 by winning the Academy Award for best original screenplay, for the movie "Good Will Hunting," in which they also starred. Both have since gone on to not only star in many other motion pictures, but have also scripted, produced and directed, as well. Similarly, Mindy Kaling and Brenda Withers, two long-standing friends at Dartmouth College, years later in New York, after musing about the aforementioned unexpected triumph of Damon and Affleck, began wondering how this achievement came about. This comic speculation, which became a substantial hit "Off-Broadway" in 2003, and has since had many successful regional productions here in the United States and abroad as well, was the result. Unfortunately, although the theater's overflowingly youthful audience roared with laughter nearly non-stop from the start-to-finish of this comic, one-act exercise, nevertheless it still registered as simply a "one joke spoof", stretched out for seventy five minutes! That solitary put-on happens soon after the beginning. As these two perpetual buddies do their best to write a potential screenplay of J.D. Salinger's "Catcher in the Rye," while jousting, cavorting about, quarreling with each other, or fantasizing about "J. Lo" or Gwyneth Paltrow, the script for "Good Will Hunting" surprisingly drops down onto them from above! Did these two average pals actually write the screenplay that made them both superstars? Longtime rumors in movie-town suggest that they didn't, however both Damon and Affleck assert that they did, absolutely! However, the evening's major success ultimately rests on the excellence of the performances by its two splendid performers. Here, Matt and Ben are portrayed by two attractive and gifted young actresses. Philana Mia depicts Matt as an earnest and intense rookie while Marianna Bassham gives a vividly convincing characterization of Ben as a generally agreeable, self-content tenderfoot. High commendations are due for M. Bevin O'Gara's well focused direction. Now playing through August 14, 2011. (My Grade: 3.5) Last Day Now at Gloucester Stage in Gloucester, Mass. is the world premiere of "Last Day" by Richard Vetere. It is set in the dead of the night in St. Michael's Catholic cemetery in Queens, Long Island, New York, and it's Ryan's (Timothy John Smith's) last day before his retirement as a long-time cemetery worker. He and his best friend Sean (Francisco Solorzano) are busily digging up a corpse from the area's remote "Section 15." Ten years ago, after a long night of heavy drinking Ryan killed his brutish, mean-spirited supervisor Billy, with his handy shovel. With the help of his buddy Sean, they buried Billy's body and now, so many years later, the Archdiocese, that manages these grounds, has new plans for "Section 15." Eventually, after Billy's sudden disappearance, Sean was promoted to Billy's former job and given a major pay raise, including rent-free accommodations with his family in the missing Billy's on-site residence! The only other person who is aware of these bizarre events, is Sean's wife Melissa (Therese Plaehn). However, complications begin to develop when she arrives that same evening, offering to somehow help. As the weary Ryan and Sean furiously continue their excavation, not only do hints about a possible intimacy between Ryan and Melissa arise, but also suggestions that the friendship between Ryan and Sean may have really been much stronger than had been previously thought! Notwithstanding this new awareness, yet another dilemma arises when their stealthy activities are unexpectedly stumbled upon by Teddy, a neophyte preparing for police duty. Of course, they understand immediately that this unforseen predicament demands a drastic response! Although certainly well acted by this accomplished trio, under Artistic Director Eric C. Engel's strong guidance, playwright Vetere has loaded too many, often predictable perplexities to his basic story about these troubled, long-time friends. However, commendations are certainly due for Jenna McFarland's stark, simple cemetery setting as well as John R. Malinowski's highly effective dramatic lighting. Now playing through August 7, 2011. 1001 Now at Boston's Center for the Arts, in its intimate Plaza Theatre, Company One presents the Boston premiere of "1001," a new play based on the legendary "Arabian Nights," by Jason Grote. It's set on a bare, darkened stage, flanked by six well centered, spaced-apart tall columns, surrounding nine centered rectangular, pale-red hassocks, which will be moved about to act as a variety of objects, ranging from furniture to many different places. Garbed in a bright, colorful robe, wearing a similarly toned turban, a highly vocal, one-eyed Arabic narrator (Ben Gracia) establishes the evening's multi-story format. The lovely, young bride-to-be Scheherazade (Lauren Eicher), is also fully aware that Shahriyar (Nael Nacer), the sultan who intends to marry her, then plans to have her beheaded, as has been his response to every other first night virgin-Bride that he's wed prior to marrying her! In order then to save her own neck, she begins to really try to exhaust his murderous plans by telling him what she intends to be 1001 fanciful stories. However, by leaving each of her tall tales unfinished, she expects not only to delay him but also perhaps to thwart him, as well! These fables, as expected however, extend not only from medieval Persia with such familiar protagonists as Ali Baba, Alladin and His Lamp and even Sinbad the Sailor, but also begin to miraculously transition into many other well known contemporary personalities and places as well. Soon we are in Manhattan, and now the Sultan and his bride-to-be have become Alan the young, Jewish mate of Dahna, his pretty Palestinian girlfriend. Their interests now involve the likes of celebrities such as Osama Bin Laden, and Harvard University professor Alan Dershowitz (making unlikely comments about the contemporary Middle East) as well as such writers as Gustave Flaubert and Jorgeluis Borges. Well directed by Megan Sandberg-Zakian, this highly unusual amalgam of old and new is vividly performed by Lonnie McAdoo, Ruby Rose Fox and Hampton Fluker playing this wide array of different notables. However, sometimes this mix works well and other times, not, leaving many of us wondering exactly what the playwright's message was? Now playing through August 13, 2011. (My grade: 3.5) The World Goes 'Round Now at the Arsenal Center for The Arts in Watertown, Mass., The New Repertory Theatre presents its new production of "The World Goes 'Round," an evening of the songs of Kander and Ebb. The music of John Kander and the lyrics of the late Fred Ebb in this lively program, conceived by Scott Ellis, Susan Stroman and David Thompson, made its New York debut back in 1991 and went on to garner three "Drama Desk" awards in New York City at that time. Seated or standing at a bevy of black stools, a quintet of five grandly vocal and highly spirited performers, on a relatively sparsely adorned stage, for nearly 2.5 hours, including a brief intermission, enthralled the capacity audience with nearly thirty very varied examples by the aforementioned songwriters. Leigh Barrett, Aimee Doherty, Shannon Lee Jones, David Costa and De'Leon Grant were greeted quite enthusiastically after every number. Beginning with the show's title tune, "And The World Goes 'Round" (Somebody Loses, Somebody Wins), and the witty (The Trouble in the World Today Is…) "Coffee in a Cardboard Cup," along with the equally amusing ode to the commercial pastry of "Sara Lee" (Your Brioche Just Fractures Me) as well as (Whatever Happened to…Class?) and the plain and ordinary "Mr. Cellophane," all vividly set the diverse tone for act one. Act two brought several members of the audience on stage to help "Ring Them Bells," which this famed duo wrote for their favorite songstress Liza Minnelli's popular 1972 television debut. Followed by "The Kiss of The Spiderwoman" (You Cannot Escape!), "Maybe This Time," (Love Won't Hurry Away) and of course (Life Is A) "Cabaret" and "New York, New York!" vividly directed and choreographed by Ilyse Robbins, and brightly accompanied by the splendidly vibrant small on-stage orchestra conducted by keyboardist Todd C. Gordon, this entertaining, audience-pleasing musical revue was zestfully greeted with a rousing standing ovation at its conclusion. Now playing through July 31. (My grade: 5) Outside The Wire Now at The Plaza Black Box Theater at the Boston Center for the Arts' Calderwood Pavilion is the Boston premiere of "Outside The Wire" by Jimi Stanton. This gripping docu-drama comes here after its recent local debut last November in Fitchburg, Mass. It is a compelling exploration of the many aspects of post traumatic stress syndrome suffered by multitudes of our heroic veterans returning to their homes here after their innumerable combat confrontations in either Iraq, Afghanistan or both. Based on the homecoming difficulties faced by the young, 23 year old playwright's brother David, upon returning to his youthful wife and very young daughter after two tours of duty in both aforesaid battlegrounds, author Jimi Stanton stars now as his play's central character, Mark Mercer. His story unrolls in a naturalistic fashion, shifting back and forth from Mark's increasingly difficult readjustment to his former civilian life, to many of his varied experiences ranging from harrowing to even playfully relaxing with his trusting, war-weary buddies. Their accounts unfold as both a succession of strikingly filmed, vivid reminiscences, by Mark's aforementioned buddies, together with their highly physical on stage reenactments of their many different combat experiences! Their filmed recollections are projected onto a medium sized movie screen at the rear center of the theater's small stage. Lance Flamingo, Justin Nelson, Ben Hassey and Brian Tudmi perform these roles quite effectively, as does Jordan McCormack as a caring military nurse. Reid W. Connell appears in these combat sequences, as well as later, visiting the tormented Mark in his New England home, in a friendly and comforting visit. Sara Cormier performs equally well as Mark's caring and troubled wife, with fine additional support from Jessie Notaro as her helpful and reassuring best friend. High commendations are also due for producer Ellen Gorman's efforts in bringing attention to this vital new play. This drama's focus on the overwhelming malaise which overcomes so many of our returning war-heroes is an important issue that must not be neglected, as it so often is! It tries to shed light on why so many of these veterans feel more connected to their combat assignments overseas than to their old lives as family men back home. Now playing through July 30, 2011. (My grade: 5) SISTER OF SWING Now at The Stoneham Theatre in Stoneham, Mass. is their production of "Sister of Swing" by Beth Gilleland and Bob Beverage. This is the song filled story of the Andrews sisters, the most successful female singing trio of the 30's, 40's and 50's. It chronicles their extraordinary rise to the pinnacle of American Pop and show-business, from their humble beginnings as teenagers in Minnesota. It all started with these very gifted youngsters winning a major talent contest at The Orpheum Theatre in Minneapolis, during the height of "The Great Depression," which helped to launch them into Vaudeville. This soon brought their remarkable harmonies to the attention of producer Jack Kapp and an exclusive contract with his company, Decca Records. Their first recording, an Americanized Yiddish tune entitled "Bei ir Bist Du Schoen," (it means You're the Fairest in the Land), quickly zoomed to the top of the pop charts, sold more than 350,000 copies, and registered as "Billboard's Number One hit for five weeks. It soon became the time's first million selling all girl vocal mega-success! From then throughout World War II, until the mid-1950's, they continued to score with a multitude of chart-busting song favorites. "Well…All Right!" (A Dig-Dig-Dig!), "I Want Some Seafood, Mama!" (Shrimp and Rice are Very Nice), "You've Got to Accentuate the Positive!" (Eliminate the Negative), "I Love You Too Much," The Beer Barrel Polka," (Roll Out the Barrel, We'll Have a Barrel of Fun), "Drinkin' Rum and Coca Cola" (We're Workin' for the Yankee Dollar!), "Don't Sit Under the Apple Tree, With Anyone Else But Me" (Till I come Marchin' Home) and, of course, "The Boogie-Woogie Bugle Boy" triumphed among countless others. Happily, Kerri Jill Garbis as Laverne (the eldest), Kimberly Robertson as Maxene, and Laura DeGiacomo as Patty, the youngest, sing, dance and trace the history of this majestic trio with great verve and style. Steve Gagliastro, the show's only other performer, utilizing a multitude of very varied costume changes, swiftly appears as many personalities, including Bing Crosby, Danny Kaye, Carmen Miranda, as Lou Levy, the girls' first manager, as well as Maxene's-- later to be divorced--husband. While the evening certainly resonates with the great songs this group rode to fame and fortune with, unfortunately, the story-narrative provided by playwrights Gilleland and Beverage, is often too wordy, overly crammed with factual details, and very rushed as the show nears its finale. As the trio's great successes begin to wind down, their last years are zipped through much too hastily! Laverne's death from cancer, Maxene's aforementioned divorce, their rancorous disputes over finances and back taxes and even Patty, as the group's sole survivor, now living as an elderly recluse, are all treated as just a necessary list of particulars. However, despite its many obvious flaws, these fabulous three were splendidly accompanied by the small, on-stage spirited orchestra, conducted by pianist Mario Cruz, and the evening's many resounding musical moments certainly still do reverberate! Now playing through July 24, 2011. (My Grade: 3.5) TARZAN Now at Bill Hanney's North Shore Music Theatre in Beverly, Mass. is their new production of "Tarzan," a musical based on Disney's same-titled 1999 animated motion picture, as well as the original classic story by Edgar Rice Burroughs. It's also noteworthy that this show has virtually no relationship to the highly popular Hollywood-made Johnny Weissmuller movies of the 30's through the 50's! Vividly staged from start to finish, a stage-wide, sea-blue, billowing silken sheet effectively establishes the storm, shipwreck and portentous African arrival of the famed infant and his parents, which begins the story. However, after the baby's parents are both killed by a fierce leopard, the tot is found and nurtured by a family of gorillas. Especially prominent in the group is Kala (Robyn Payne), a grieving mother ape who's recently lost her own child. She adopts this strange new baby over the highly resonant objections of Kerchak (Todd Alan Johnson), her jungle mate. Her lovely rendition of "You'll Be in My Heart," is certainly the most memorable song, amongst the more than a dozen, rather standard melodies, that musician and lyricist Phil Collins has written for this newly restyled show. As the very young Tarzan (Giacomo Favazza) grows into strong and youthful adulthood (Brian Justin Crum), cavorting from suspended vine-to-vine with his best friend Terk (Christopher Messina), a new dilemma unexpectedly appears. A scholarly expedition from England, introduces the young, uncivilized Tarzan to the very academic Professor Porter (Jay Russell), with Clayton (Eric Collins) his scheming and bloodthirsty assistant, and most especially to Porter's lovely daughter Jane (Andrea Goss). As expected, love quickly blossoms between this very unlikely couple! They then both bond by singing the sonorous "Different" (We're Just the Same). Of course, Clayton's nefarious ape-killing intentions are soon thwarted, while Jane is ultimately compelled to choose between Tarzan and his unspoiled life or the cultivation and polish that she's come from. David Henry Hwang's newly revised book effectively moves the show forward with high marks for Joshua Bergasse's lively choreography, and Timothy R. Mackabee's simple yet quite effective wild, African setting. Bravos are also due for Charles Schoonmaker's fine primitive and animal-like costuming, David Neville's dramatic lighting, the splendid full orchestral accompaniment conducted by keyboardist Anne Shuttlesworth and more certainly Bill Castellino's well focused direction. Now playing through July 24, 2011. THE DROWSY CHAPERONE Now at The Boston Center for the Arts, The Speakeasy Stage Company presents its new production of "The Drowsy Chaperone." The winner of five 2006 Tony Awards including Best Original Score and Book of A Musical, amongst others, it features music and lyrics by Lisa Lambert and Greg Morrison with book by Bob Martin and Don McKellar. This engagingly tuneful spoof of 1920's era musical comedies, begins in darkness in the drab cramped apartment of the evening's colorless but totally enthusiastic devotee of yesteryear's musical theatrics. Acting throughout as the show's narrator, he's known simply as "Man In Chair" (Will McGarrahan). Sorting through his cherished cabinet, filled with his many treasured vinyl copies of recorded Broadway musicals of the past, he extracts his favorite. It's a 1928 gem entitled, "The Drowsy Chaperone." As he begins to play this antique recording, his dreary residence is transformed into a bright and colorful art-deco styled space, complete with all of the cast of his favorite old-time show. Young and attractive stage star Janet Van DeGraaf (McCaela Donovan) is set to marry handsome and dull Robert Martin (David Christensen), at the stately home of prominent dowager: Mrs. Tottendale (Kerry A. Dowling). Complications develop when to prevent bad luck, drowsy and mostly pickled chaperone (Karen MacDonald) is chosen to insure that the groom not see his bride before the ceremony on their wedding day. She lustily rouses the capacity audience, defining her assignment by singing "As We Stumble Along," while the bride quizzically bursts into (I Don't Wanna Be) "A Show Off!" Not to be outdone, the bridegroom and the wedding's manager George (Brian Swasey) nearly stop the show, by singing and tap-dancing about their pre-nuptial "coldfeets!" Still more difficulties evolve. As the aforementioned Mrs. Tottendale's butler: "Underling" (Robert Saoud) reminds his forgetful mistress about the approaching festivities (love is always lovely), a sub-plot about the bride's intentions to quit her career as the star of "Feldzeig's Follies" on Broadway erupts. This involves the said show's producers (J.T. Turner), two hired gangsters (Ryan Halsaver and Joe Longthorne), Kitty (Sarah Drake) the producer's chorus-line girl friend and Aldolpho (Thomas Derrah), a grandly flamboyant foreign matinee idol who the producers contracted to woo and dissuade the bride. His over-the-top rendition of "I Am a Ladies Man" while tangoing with the bride-to-be's chaperone is one of the evening's high-spots! Of course, all of these deftly contrived dilemmas are soon undone, since the expected happy ending must always take place before the final curtain. Commendations are certainly due for Jenna McFarland's bright, colorful set, Seth Brodie's fine period costumes, the lively small orchestra's accompaniment directed by keyboardist Nicholas James Connell and the well focused direction and spirited choreography by David Connolly. Now playing, extended by popular demand, through June 19, 2011. (My grade: 5) The Completely Fictional-Utterly True-Final Strange Tale of Edgar Allen Poe Now at The Trinity Repertory Theatre Company in Providence, Rhode Island is their world premiere production of "The Completely Fictional-Utterly True-Final Strange Tale of Edgar Allen Poe" by Stephen Thorne. The playwright is a distinguished member of The Trinity Repertory's resident acting company. His unusual play poses many fascinating speculations on this great writer's demise. Dead at age forty, Poe's final days are explored via a succession of feverish memories and torturous spectral guests. All of this after being missing for a week, and then finally being found fully intoxicated, while lying in a street gutter, ending up in a hospital bed. There Poe (Brian McEleny) conjures forth the presence of Mlle. Valdemar (Angela Brazil) the well-known mesmerist. He is captivated by her attempts at reversing the death of a nearby elderly hospital patient. by means of a mesmeric-based trance. Convinced that he too can nullify his own impending end, he now finds a way to materialize his own younger self (Charlie Thurston.) Then, the elder Poe bitterly denounces his junior being for the mistreatment done to his tender, young wife Virginia (Lauren Lubow), spurred on by his own selfish aspirations. Soon, this spirited confrontation also summons up the specter of Poe's harsh stepfather (Joe Wilson Jr.) Here, the elderly phantom derides the youthful writer's petty, egotistical yearning, pursued to the detriment of those who loved and needed him! Of course, the younger objects to these grievances and sees his talents as misunderstood and unappreciated. Still later in a quieter moment, the senior Poe is visited by the spirit of his literary mid-19th century contemporaries, Charles Dickens (Fred Sullivan, Jr.). After they warmly greet one another, they both thoughtfully consider their impending eternities, as they try to explore some of the differences in their lives. The final act, in this rather lengthy three act play, finds the senior Poe once again alone, in his hospital bed, challenging his attending doctors. He is chastened by their assertions that he is dying! At his insistence, Poe is challenged by a host of now-white, masked apparitions who reaffirm his fate. In his final moments of acceptance, he's enveloped gradually in darkness. Commendations are due for the vividly effective cast, as well as Susan Zeeman Rogers' interesting set-design, involving a variety of different moveable furniture, enhanced by large, colorfully decorated portable screens. Similar praise must also go to William Lane's fine period costumes, Keith Parham's dramatic lighting design and Peter Sasha Hurowitz's productive sound design. This well-played, provocative, although somewhat over-extended drama was also certainly well directed by Curt Columbus. Now playing through June 5, 2011. (My Grade: 4.5) Animal Crackers Now at the Lyric Stage in Boston, Mass., is their new production of "Animal Crackers," the highly successful 1928 Broadway farce which helped to launch the Marx Brothers when they transferred their legendary zaniness from New York's "Great White Way" to Hollywood and the Nation's multitude of Depression-Era movie theatre screens. Here also is the original, legendary book by George S. Kaufma and Morrie Rysking, together with the show's music and lyrics by Bert Kalmer and Harry Ruby, as adapted by Henry Wishcamper. Of course, here likewise are the fabled quartet newly personfified. Groucho (Ed Hoopman), Chico (Nael Nacer), Harpo (Alycia Sacco) and Zeppo (Grant MacDermott), all fully made-up, costumed as well as acting and sounding just like them! Once again, everything happens at the Long Island mansion of the stately dowager Mrs. Rittenhouse (Leigh Barrett), fashioned after Margaret Dumont's many filmed confrontations, especially with Groucho. The threadbare plot serves mainly as a setting for the hilarious antics of these extraordinary brothers. Financier Roscoe W. Chandler (Clavin Braxton) plans to exhibit his newest and most expensive fine arts painting at Mrs. Rittenhouse's home, with Groucho, the renowned African explorer Jeffrey T. Spaulding as the guest of honor. His riotous entrance is resoundingly expressed by his grandly comic "Hooray for Captain Spaulding!" (Hello, I Must Be Going). This is all followed by a host of sublimely ridiculous and very funny complications. Chandler is also exposed by Chico to have really begun his financial rise as Abie Kabibly, an immigrant fish peddler. Unfortunately, his prized painting has been mysteriously replaced, at night, in the darkness during a lightning storm, by an obvious imitation. Of course, as these ma y bizarre dilemmas are humorously revealed with the real help of the seven-piece, elevated on-stage orchestra conducted by pianist Catherine Stornetta, Chico seems to be performing his famed pistol like keyboard playing at a grand piano, while later Harpo also seems to be similarly engaged at a mock harp! It's also noteworthy most of this show's nearly thirteen songs (including a few borrowed from other Marxian movies) were not used in the later revised 1930 motion picture version. Similarly, this was likewise true of the show's original fanciful dream-like finale which was then also greatly altered and shortened in the Hollywood treatment! Extra mention is certainly due for the large, splendid cast with special praise for resonant Aimee Doherty as Mrs. Rittenhouse's lovely young daughter Arabella, as well as Jordan Ahnquist's vivid tar dancing expertise. Lastly, bravos must go to Brynna Bloomfield's fine art-deco styled set, Charles Schoonmaker's faithful costumes, Rachel Bertone's lively choreography and most definitely Spiro Veloudos' assured direction. Now playing through June 4, 2011. (My Grade: 5) WHY TORTURE IS WRONG, AND THE PEOPLE WHO LOVE THEM Now at the intimate Sandra Feinstein-Gamm Theatre in Pawtucket, Rhode Island is the area premiere of "Why Torture is Wrong and The People Who Love Them" by Christopher Durang. Fresh from its recent debut at New York's Public Theater, this is the latest absurdist farce from this improbably over-the-top playwright who's best-know for such earlier similar comic jolts such as "Sister Mary Ignatius Explains It," "Beyond Therapy," and "The Marriage of Bette and Boo." As expected, all of the anticipated lunacy erupts from the very beginning! Young, single Felicity (Casey Seyour Kim) awakens one morning to discover next to her Zamir (Alexander Platt), the stranger that she first met the evening before at the local "Hooters" nightspot. He now is her husband! Moreover, while he looks middle-eastern to her, Zamir insists that he is in fact Irish. Rejecting any attempt at annulment, Zamir looks forward to meeting his new bride's folks. Her stern dad Leonard (Sam Babbitt), who loves to catch and collect butterflies, is also a member of the secret "Shadow Government," which is heavily involved in its many shrouded efforts to protect us all from terrorists. His happy wife Luella (Wendy Overly) blissfully exults over her housekeeping efficiency while also proudly rattling off the titles of all the big Broadway hits she knows. Since right away Leonard is certain that Zamir is certainly a terrorist, he recruits two of his most effective "Shadow Government" operatives to help him thwart his son-in-law's nefarious plans. Reverend Mike (Gaby Lait Cummings), who fashions himself as "a porn-again Christian," and who also hitched the pickled Felicity and Zamir the night before, is assisted by alluringly stealthy Hildefarde (Jeanine Kane) into forcing the innocent Zamir to confess! Unfortunately, in her zealous efforts to make the captive confess, Hildegarde's colorful undies keep dropping down to her ankles! Regrettably, playwright Durang keeps adding eve more bizarre complications to his flamboyant situations involving some unnecessary repetition and a surprisingly dissuading result. Undaunted, the author then switches to an unlikely and quite fanciful plot-twist, which of course finally leads to the expected happy ending. While many of the evening's outrageous developments were effective, they also often seemed belabored and frequently and needlessly over extended. However, commendations are certainly due for the fine cast with similar praise for Director Tony Estrella. Now playing through June 5, 2011. (My Grade: 3) 42nd STREET Now at the Stoneham Theatre in Stoneham, Mass. is their new production of "42nd Street," the slam-bang, fast moving, "let's put on a Broadway musical show" based on the same-titled classic 1933 Busby Berkeley motion picture. Here is, again ,the quintessential back-stage story of the bright, young, untested ingenue, who's yanked from the chorus line, at the very last moment, to save the show. As expected, the evening's well-known and very, very temperamental leading-lady breaks her ankle. The day before opening night, and the small-town raw chorine, is persuaded to replace her. From the minute that the stage lights up, the capacity-filled auditorium explodes with a bevy of high-kicking, nearly non-stop, tap-dancing, lovely chorus girls, as the hall begins to resonate with the grand words and music of Al Dubin and Harry Warren. Absolutely one of the best musical scores ever, featuring such stand out tunes as: "Lullaby of Broadway," "You're Getting To Be A Habit With Me," "Shuffle Off To Broadway," "The Shadow Waltz," "We're In The Money," and the memorable title song. Lusty bravos are also due for the large spirited vibrant cast with many kudos for the accomplished and well-voiced leading players: Ephie Aardaema as the show-saving novice; Russell Garrett as the show's dedicated Producer-Director; Kathy St. George as the ailing and then replaced leading-lady; Andy McLeavey as the burgeoning starlet's potential sweetheart, as well as Margaret Ann Brady, and Neil A. Casey as the Director's vivid assistants. Much praise similarly should go to scenic designer Kathryn Kawecki's effective use of the theater's limited stage for the needs of the show's largely, highly animated chorus line, as well as Rafael Jane's bright and colorful costumes. Praise must also go to music Director and Pianist Jim Rice and his splendid on stage trio and also to Ilyse Robbins' firmly concentrated direction together with her lively choreography, based on Gower Champion's original Broadway conceptions. This alive, grandly tuneful and enthusiastically family-friendly presentation is now playing through May 29, 2011. (My grade: 5) BREAKING THE CODE Recently concluded, after a brief engagement, at the Central Square Theatre in Cambridge, Mass., Underground Railroad Theater presented its production of "Breaking The Code," Hugh Whitemore's highly compelling and quite provocative 1986 London New York dramatic success. Springing back and forth from the late 20's to the mid 50's, its' intriguing focus is on Alan Turing (Allyn Burrows) the great English/Mathematical genius who was recruited by Dillwyn Ross (Dafydd Ap Rees) an officer of the British government at the height of World War II to help to decipher the troublesome and damaging Nazi code known as "Enigma!" His brilliant sense of logic was eventually successful and hastened the war's victorious conclusion. Unfortunately later, he was also arrested by the local police while reporting a housebreak at his home, after unabashedly admitting that he was a homosexual, which was still considered to be a criminal offense in England at the time. This also proved to be of conflicted significance to his caring and concerned mother (Debra Wise). His prophetic theories about the potentiality for the creation of an electronic brain, existing apart and free of the human body, was an early forecaster of the age of computers to come decades later. A resolutely unapologetic non-conformist, he also even spurned the love and fully known and willing acceptance of him by his ardent female assistant (Liz Hayes). Ultimately, after a brief holiday in Greece, bolstered by a fleeting encounter with a local youth (Danny Bryck), Alan Turing's striking and complicated life was ended by his suicide! It was all potently performed in arena-style by the splendid cast on a virtually bare stage, utilizing only a few simple pieces of furniture as props. Janie E. Howland's highly creative surrounding set design proved to be quite effective, with the central stage area enveloped on all sides by a myriad of vacant picture frames, some narrow, some wide, some large, some small, persuasively enhanced by a maze of wide-ranging and interconnected long, thin wires symbolizing possible mathematical schemes. Bravos, of course, must also go to Franklin Meissner, Jr.'s fine, dramatic lighting and most certainly to Adam Zahler's strong and well focused direction. (My grade: 5) PASSING STRANGE Now at The New Repertory Theatre in The Arsenal Center for The Arts in Watertown, MA is their production (a New England premiere) of "Passing Strange" the recent 2008 Tony Award-winning Boradway musical. Set in the 1970's, this autobiographical and vividly sonorous presentation of performer/playwright/composer: Stew's coming-of-age saga resonates compellingly throughout. It follows the author (here known as "The Narrator" as portrayed by Cliff Odle) as he progresses gingerly from his comfortable, black, bourgeoise, Los Angeles background eventually to self-assured certainty! Surprisingly, his rite of passage takes him, not to New York City or Chicago, but rather to Europe and the young artistic and political radicals of Amsterdam and Berlin! He does so not withstanding the angst of his very religious mother (Cheryl D. Singleton). His disdain for her spiritual and cautionary response to his decision is satirically voiced musically as focused on the flamboyant hats of his mom's Sunday morning feminine Church-going friends! ("Baptist Fashion Show"). Throughout, the burgeoning author is known only as "Youth," and is portrayed effectively by Cheo Bourne. His European experiences are strikingly sparked by the wide ranging nonconformist and militants he encounters, initially in Holland and later in Germany. The evening's rock, Blues and Gospel inspired songs such as "Stoned," "Mayday," "Sole Brother," "Damage," and "Identity," define much of his varying evolution. The spirited ensemble of fine young actors as many different characters: De'Lon Grant, Eve Kagan, Maurice Parent and Kami Rushell Smith expressively mark Youth's unfolding emergence. Although the show's book and lyrics are by Stew, Heidi Rodewald joined him composing the music, with it all created in collaboration with Annie Dorsen. High marks are due for Eric Levinson's striking, towering set, composed of elevated metallic scaffolding flanked by a host of glaring lights, together with Karen Parson's dramatic lighting, Aaron Mack's efficient sound design and Gail Astrid Buckley's fine costuming! Applause is also a must for the potent on stage musical quintet conducted by percussionist Jen Lowe and bravos too for Kate Warner's well centered direction. The show's unusual title is derived from Shakespeare's "Othello" where his heroine Desdemona describes her reaction to her husband's various exploits as he was "passing strange." Now playing through May 22, 2011. (My grade: 5)
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