Emilie Kouatchou and the cast of ‘The Sound Of Music’ at the Portsmouth Music Hall. Photos by Gary Ng.
‘The Sound Of Music’ – Music By Richard Rodgers; Lyrics By Oscar Hammerstein; Book By Howard Lindsay And Russel Crouse; Suggested By “The Trapp Family Singers” by Maria Augusta Trapp; Directed & Choreographed by Anthony C. Daniel. Presented by Ogunquit Playhouse at the The Music Hall, 28 Chestnut St., Portsmouth, NH, through December 17
by Mike Hoban
Ogunquit Playhouse closes out its 2023 season with one of musical theater’s most iconic musicals, The Sound of Music, presented in downtown Portsmouth’s historic Music Hall. The stage musical, which opened on Broadway in 1959, won five Tony Awards and was adapted into the much beloved Academy-Award-winning film in 1964, but underneath its heartwarming story of how love and music can heal a soul, its dark undercurrent resonates even more loudly in today’s increasingly grim political climate.
Cast of ‘Singin’ in the Rain’ at Ogunquit Playhouse. Photo by Nile Hawver, Nile Scott Studios
‘Singin’ in the Rain’ – Story by Betty Comden and Adolph Green; Lyrics by Arthur Freed; Music by Arthur Freed and Nacio Herb Brown; Based on the classic Metro-Goldwyn-Mayer film, by special arrangement with Warner Bros. Theatre Ventures, Inc. Directed by Jayme McDaniel; Musical Direction by Matt Smedal; Choreography by Kristyn Pope; Scenic Design by Andy Walmsley; Costume Design by Dustin Cross; Lighting Design by Richard Latta; Sound Design by Germán Martinez. Presented by Ogunquit Playhouse, Ogunquit, ME, through July 15
By Linda Chin
No show fits Ogunquit Playhouse’s description as a self-producer of “big splashy musicals and side-splitting comedies” that attracts “casts of stars on its historic stage” better than Singin’ in the Rain, the spectacular romantic musical comedy based on the legendary MGM film. First staged at OP in 2009, director Jayme McDaniel returns to helm this production, Kristin Pope choreographs, and Matthew Smedal music directs. Broadway’s Max Clayton (Music Man) as leading man Don Lockwood, Christian Probst as BFF Cosmo Brown, Chiara Trentalange as actress Kathy Selden, Kate Loprest as co-star Lina Lamont, Greg Jackson as director Roscoe Dexter, Lance Roberts as producer R.F. Simpson and 19 ensemble members show their acting and singing chops, and literally – dance up a storm.
Max Clayton in Singin’ in the Rain’ at Ogunquit Playhouse. Photo by Nile Hawver, Nile Scott Studios
‘Singin’ in the Rain’ – Story by Betty Comden and Adolph Green; Lyrics by Arthur Freed; Music by Arthur Freed and Nacio Herb Brown; Based on the classic Metro-Goldwyn-Mayer film, by special arrangement with Warner Bros. Theatre Ventures, Inc. Directed by Jayme McDaniel; Musical Direction by Matt Smedal; Choreography by Kristyn Pope; Scenic Design by Andy Walmsley; Costume Design by Dustin Cross; Lighting Design by Richard Latta; Sound Design by Germán Martinez. Presented by Ogunquit Playhouse, Ogunquit, ME, through July 15
by Mike Hoban
It’s always a challenge when an iconic movie musical – particularly one as beloved as ‘Singin’ in the Rain’ – is brought to the stage. Comparisons to legendary performers are inevitable, and when you include complex dance routines that are also among the most recognizable of all time (Gene Kelly’s title song and dance number and Donald O’Connor’s “Make ‘Em Laugh”), the stakes are sky-high. Luckily for the audiences of Ogunquit’s excellent staging of the classic, the cast and production team serve up a winner that ups the comedy quotient while still delivering first-rate performances of the musical’s song and dance routines.
Matthew Amira, Sarak Bockel in Beautiful – The Carole King Musical at Ogunquit Playhouse
‘Beautiful’ – Book by Douglas McGrath. Words and Music by Gerry Goffin, Carole King, Barry Mann, and Cynthia Weil. David Ruttura, Director. Joyce Chittick, Choreographer/Associate Director. Nick Williams, Music Director. Derek McLane, Scenic Design. Alejo Vieti, Costume Design. Richard Latta, Lighting Design. Kevin Heard, Sound Design. Roxanne De Luna, Wig Design. At Ogunquit Playhouse through June 10
by Mike Hoban
One of the good things about the plethora of jukebox musicals that have dominated the theater scene in recent years (as well as tribute bands in music venues) is that if you’re a fan of the artist, you can pretty much bank on having a reasonably good time. But if it’s the Ogunquit Playhouse’s spectacular production of Beautiful – The Carole King Musical, then you can count on having a GREAT time. Ogunquit has brought back the show barely six months after its run last fall (which I also saw), and if anything, the show feels even more energized in this restaging.
Sarah Bockel as Carole King and cast in ‘Beautiful’ at Ogunquit Playhouse. Photos by Gary Ng
‘Beautiful’ – Book by Douglas McGrath. Words and Music by Gerry Goffin and Carole King, Barry Mann and Cynthia Weil. David Ruttura, Director. Joyce Chittick, Choreographer/Associate Director. Nick Williams, Music Director. Derek McLane, Scenic Design. Alejo Vieti, Costume Design. Richard Latta, Lighting Design. Kevin Heard, Sound Design. Roxanne De Luna, Wig Design. At Ogunquit Playhouse through October 30
by Linda Chin
Back in the pre-music streaming, pre-CD teenage days, I stayed in bed all morning on many a Saturday listening to (and singing along with) Carole King’s Tapestry over and over, getting up only to advance the needle on the record player. I studied the album cover – her fuzzy sweater and jeans atop bare feet, tangle of frizzy hair, furry cat and confident but relaxed gaze so different from my own self-portrait; I absorbed her songs “It’s Too Late” (about the breakup of a loving relationship), “Will You Still Love Me Tomorrow?” (about the aftermath of a one-night stand) as gospel, so foreign were these concepts from my own experience. Especially on those days when I didn’t get up with a smile on my face, King was the enthusiastic cheerleader, understanding therapist, reliable friend who’d come running if needed.
Charissa Hogeland (Lady), Sara Gettelfinger (Star), Madeline Hudelson (Babe) in ‘The Cher Show’ at Ogunquit Playhouse. Photos by Nile Hawver, Nile Scott Studios.
‘The Cher Show’ – Rick Elice (writer), Gerry McIntyre (Director), Jane Lanier (Choreographer), Kristin Stowell (Music Director), Andy Walmsley (Set Design), Richard Latta (Lighting Design), Bob Mackie (Costume Design), Roxanne De Luna (Wig Design), Kevin Heard (Sound Design), John Narun (Projection Design). Presented by the Ogunquit Playhouse through June 25th.
by Linda Chin
Ogunquit Playhouse is New England’s grande dame of the summer stock circuit, making The Cher Show an entirely fitting choice to open the theatre’s 90th season in grand style. With a book by Rick Elice (Jersey Boys) and 35 tunes, this show about Cher’s early life and career spanning six decades is not your average musical, but in the “juke box musical” or bio-musical” category. The archival black-and-white clips from The Sonny and Cher Comedy Hour, colorful, over-the-top costumes by fashion designer Bob Mackie, and adoring (and adorable) back-up dancers make this production part-documentary, part-TV series, part-runway show, part-sketch comedy and nightclub act.
‘Mystic Pizza’ – Based on the MGM movie ‘Mystic Pizza’, with story and characters by Amy Holden Jones. Directed by Casey Hushion, Choreography by Liz Ramos, Additional Music Staging by Connor Gallagher, Orchestrations and Music Supervision by Carmel Dean, Music Direction by Kristin Stowell, Scenic Design by Nate Bertone, Lighting Design by Richard Latta, Sound Design by Kevin Heard; Costume Design by Jennifer Caprio; Wig Design by Roxanne De Luna. Presented by the Ogunquit Playhouse through October 7th.
By Linda Chin
The much-anticipated world premiere production of Mystic Pizza: A New Musical at Ogunquit Playhouse brings together two cultural highlights of the 80s and 90s: the film Mystic Pizza (1998) that launched then unknown 21-year old actor Julia Roberts’ career, and the music video Girls Just Want to Have Fun (1984) that propelled Cyndi Lauper’s iconic career (and became not only her signature song but a feminist anthem for girls of all ages). Add a venue where starving audiences and artists can safely participate in live performance again, and you get a summer 2021 theater trifecta – a perfect storm of a production.
Cast of ‘Spamalot’, presented by Ogunquit Playhouse. Photo by Gary Ng
by Mike Hoban
‘Spamalot’ – Directed by BT McNicholl; Choreography by Jennifer Rias; Music Direction by Fred Lassen; Set Design by Nate Bertone; Lighting Design by Rich Latta; Sound Design by Kevin Heard; Costume Coordination by Jill Tarr. Presented by the Ogunquit Playhouse at 10 Main St, Ogunquit, MEthrough July 10th.
If the CDC were to provide guidance on the musical best suited to break us out of the isolation and joylessness of the past 15 months, it would come as no surprise if Dr. Fauci recommended Spamalot,the 2005 Monty Python-inspired Broadway musical now playing at the Ogunquit Playhouse. This entertaining production is precisely the kind of silly fun needed to snap theatergoers out of our doldrums by reminding us of the joy of the shared experience of laughing out loud with a crowd of people. Worn down for too long by the pandemic and the increasingly toxic political landscape, Spamalot provides a salve to the psyche that the weightier classics (Cabaret, Ragtime, Fiddler etc.) just couldn’t deliver during this unique space in time.
(Cast of ‘Kinky Boots’ at Ogunquit Playhouse. Photos by Gary Ng)
By Sheila Barth
BOX INFO: Two-act, popular Broadway musical
hit, appearing at Ogunquit Playhouse, 10 Main St. Route 1N, Ogunquit,
Maine, through October 27. Tickets start at $36; economy seats, $51. ogunquitplayhouse.org,
207-646-5511.
Kick up your heels, stride proudly, walk tall, and enjoy every minute of Ogunquit Playhouse’s spectacular production of “Kinky Boots,” Harvey Fierstein and Cindy Lauper’s popular Broadway musical hit. This is one show you don’t want to miss.
Don’t let the name of the play be off-putting. The musical isn’t about sexual kinkiness. It’s about two contrasting males who share what they perceive as the same shortcoming. They can’t live up to their fathers’ expectations. The main theme, though, is a clarion call for tolerance, love, and accepting people for who they are. The story is based on fact, writes Director-Choreographer Nathan Peck, former dance captain for the Broadway run. Thirty-something Steve Pateman of Northampton, England reluctantly took over his dad’s failing shoe business in the early 2000s. A woman who specialized in the sale of transgender women’s footwear saved Pateman’s business, by joining him and creating glamorous shoes. Their story was highlighted on BBC, and provided the heart of 2005 British film “Kinky Boots,” starring Joel Edgerton and Chiwetel Ejiofor.
(Randy Harrison as Emcee, cast of Ogunquit Playhouse’s ‘Cabaret’)
by Linda Chin
‘Cabaret’ – Creative Team: BT McNicholl (Director), Andrea Leigh (Choreographer), Bruce Barnes (Music Director), Robert Brill (Scenic Designer), William Ivey Long (Costume Designer), Richard Latta (Lighting Design), Kevin Heard (Sound Designer), Roxanne De Luna (Wig/Hair and Makeup Designer), Anthony C. Daniel (Casting), Robert V. Thurber (Associate Director and Production Stage Manager). Presented by Ogunquit Playhouse at 10 Main St, Ogunquit, ME through August 10
(Note: At this writing, the news of the passing of Hal
Prince, director of Cabaret’s original (1966) production, has been announced.
RIP to the Prince of Broadway.)
There is a theater (Ogunquit Playhouse), and there is an executive artistic director (Bradford T. Kenney), and there is a state (Maine) in a country called the United States, with a production of Cabaret that is simply, sensuously, sensational. Having seen multiple revivals of this iconic musical on college, regional, and Broadway stages over the past four decades, I’ve been struck each time by the brilliant and complex musical composition and lyrics by John Kander and Fred Ebb, the masterful book by Joe Masteroff (commissioned by the late Hal Prince), and the timelessness of the show’s themes. In Ogunquit’s Cabaret, the lighting and scenery, costumes, wigs and makeup, the music and choreography, the orchestra, the girls – and yes, the boys – are beautiful, and all the elements in this exquisite production meld seamlessly to tell the story of life in 1930s Berlin, of love blossoming with the rise of Nazi Germany as a dark, lurking backdrop.
