Rousing Folk Rock in Stoneham’s ‘Jonah’ as Real as It Gets

 

By CJ Williams

 

Jonah and the Whale – Book written by Tyler Mills; Music and Lyrics by David Barrow and Blake Thomas; Directed by Weylin Symes; Scenic Design by Katheryn Monthei; Costume Design by Deirdre Gerrard: Lighting Design by Christopher Fournier; Sound Design by John Stone. Presented by The Stoneham Theatre 395 Main Street, Stoneham, MA 02180 through March 12.

 

“It wasn’t real,” says a character at one point in ‘Jonah’, the newish musical now making its New England premiere at the Stoneham Theatre. But in this rousing new folk-rock musical, that’s not the answer, rather, it’s a question, and one that runs through the length of the show. As we get our sea legs, so to speak, on the theatrical ship, we’re pressed more and more to ask about reality, both what and why – What makes life worth living? What makes us human? But like that first statement, the answers the play gives are often more questions in disguise.

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The Sumptuous Tragedy of “Edward II”

 

By Michele Markarian

 

“Edward II” – Written by Christopher Marlowe; Directed by David R. Gammons; Set Designer, Sara Brown; Lighting Designer, Jeff Adelberg; Costume Designer,  Rachel Padula-Shufelt; Sound Designer, Dave Wilson. Presented by Actors Shakespeare Project, Charlestown Working Theater, 442 Bunker Hill Street, Charlestown, through March 19.

 

By most accounts, Edward II was a failure as king, considered weak, inept, and prone to lavishing money on his favorites. He fathered at least one illegitimate child and was reputed to enjoy the company of lower-class people, including his alleged homosexual lover, Piers Gaveston. It is this relationship and its repercussions that are the focus of Christopher Marlowe’s accessible and exciting play, “Edward II”.

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ART Delivers Compelling Take on Williams’ ‘Night of The Iguana’

 

by Mike Hoban

 

Night of the Iguana – Written by Tennessee Williams; Directed by Michael Wilson; Scenic Design by Derek McLane; Costume Design by Catherine Zuber: Lighting Design by David Lander; Sound Design by John Gromada. Presented by The American Repertory Theater at the Loeb Drama Center, 64 Brattle St., Cambridge through March 18.

 

In “Night of the Iguana” the star-studded production now being mounted by the American Repertory Theater in Cambridge, Tennessee Williams may ostensibly be tackling the weightier themes of sex and religion, but at its core, the play is still about loneliness in its many forms. Williams has assembled a collection of principal characters, led by a “defrocked” clergyman turned second-rate tour guide, that have lived their entire lives without ever making that vital – and risky – connection to another human being. And during the 24 hour span which “Iguana” takes place, we experience the messy process of watching the characters trying to make themselves whole by trying to find that human bond.

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MARVIN’S ROOM (Rhode Island College)

MARVIN’S ROOM

Reviewed by Tony Annicone

 

Rhode Island College Theatre’s current show is “Marvin’s Room” by Scott McPherson. It won the Outer Critic’s Award, the Drama Desk Award and the John Gassner Award for Best New American Play in 1992. The show is about two sisters, Lee, a wisecracking, psychologically unstable free spirit who has not helped with the caretaking and Bessie, who is their ill elderly father Marvin and their ill elderly Aunt Ruth’s saintly caretaker who has leukemia. Lee is the mother of two sons, one Hank, who is a disturbed teenager and Charlie, his younger brother. Bessie’s diagnosis and the possibility that one of them may be a match for a transplant is what brings them all together. It is comic show about a serious illness, but it is performed and written with humor amid the pathos. Director Connie Crawford makes sure the comic moments as well as the dramatic moments come to life through the college performers. The show is a series of fourteen vignettes and Connie brings out the best in her cast, creating a splendid show with heart for the audience to savor and enjoy.

The set is by Katryne Hecht while the costumes are by Marcia Zammarelli. Maria Cabral handles the demanding role of Bessie excellently. She plays the long suffering but resilient Bessie, who we see from the humorous scenes of opening in the doctor’s office and with her aunt to the poignant moments in the hospital and with her sister and nephews. Maria appears in almost every scene of the show and makes each moment count. She appears without her wig in one scene to show how the effects of the disease and a lighter moment occurs during a happier time when she was in love with her carny barker. Bessie wants to bring the same kind of happiness to her dying father by using a carnival type light to brighten his life and finally showing her love for her father and aunt. Maria makes Bessie into a sympathetic character that the audience adores for handling a dark situation with humor and optimism.

Madison Ramsay as Aunt Ruth steals almost every scene that she’s in. She wears a gray wig and makes the doddering aunt with a bad back into an hilarious character. Some of the comic moments include the robotic device implanted into her back that makes the garage open, she loves soap operas and thinks Pluto at Disney World is a gopher. Another strong performance is given by Mia Ceglie as Bessie’s sister, Lee. She makes this hard shelled woman soften when she deals with her sister’s illness later in the show. One of her best moments occurs when she finally admits to her son, Hank that she knew his father beat him and she took things out on Hank by yelling at him. Her emotional breakdown and renewed connection to him and Bessie is excellent. Some comic moments include her stealing candy and yelling at her sons.

The two actors who play Lee’s sons in the show do fantastic work, too. Andrew Holowienka makes Hank, the tough juvenile offender who has burnt down his mother’s house into a likeable kid by the end of the show. His scenes with Bessie, his mother and Charlie shows his true love for them. Hank runs away when he feels he’s failed to give Bessie the bone marrow that she needs but eventually realizes he needs the love of his family at last. Andrew makes the transition from tough to nice believable and delivers an emotion packed performance. Elijah Swain plays Charlie, the book loving and school hating younger brother. His interactions with the other cast member is terrific. One of his funniest lines is “Can I watch Grandpa breathe?” while his most poignant when he gives Hank’s note to Bessie after Hank ran away.

Other comical cast members include Michaela Pendola as Dr. Wally who calls everyone by the wrong name, Emily Fleet as Dr. Charlotte who plays Hank’s shrink and also plays the bitchy, Southern Retirement Home Director who tells them they have to become destitute to afford to put their father and aunt there, Yunus Quddus plays the narrator and Marvin who is never scene onstage but through a translucent scrim and Ellen Porde as Wally’s dimwitted sister. So for a marvelous production, be sure to catch “Marvin’s Room” at Rhode Island College. The audience learns what it’s like to be caretakers of our elderly relatives.

MARVIN’S ROOM (23 February to 4 March)

Rhode Island College, Forman Theatre, 600 Mount Pleasant Avenue, Providence, RI

1(401)456-8144 or www.ric.edu/mtd

“THE FANTASTICKS” – Ivoryton Playhouse (CT)

“THE FANTASTICKS”
Reviewed by Tony Annicone

 

The historic Ivoryton Playhouse’s first show of their season is The Fantasticks”, a 1960 musical with music by Harvey Schmitt and lyrics by Tom Jones. The original show opened off Broadway on May 3, 1960, ran for 17,162 performances, closing on January 13, 2002. It tells an allegorical story, loosely based on the play “Les Romanesques” by Edmond Rostond, concerning two parents who put a wall up between their two houses to ensure that their children fall in love, because they know children always do what their parents forbid.

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Apollinaire Blinds Us With Science with Provocative ‘Informed Consent’

 

by Mike Hoban

 

Informed Consent – Written by Deborah Zoe Laufer; Directed by Dale J. Young; Set Design by Jessica Pizzut; Sound Design by Camilo Atehortua; Costume Design by Elizabeth Rocha; Lighting Design by Danielle Fauteux Jacques. Presented by the Apollinaire Theatre Company at the Chelsea Theatre Works, 189 Winnisimmet St., Chelsea through March 12.

 

Informed Consent, the unsettling and thought-provoking work now being staged by Apollinaire at the Chelsea Theatre Works, is – on the surface – about finding the middle ground between science and belief systems that may or may not serve a greater purpose for those that hold them. But it is, at its core, a very human story. Powered by an affecting performance by Becca A. Lewis, it is a compelling tale of how rigidly applying science and logic devoid of any real humanness can complicate rather than solve complex problems. It is also a very human story of how fear-driven behavior can cripple one’s ability to connect with the rest of the universe in a meaningful way.

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Company One’s ‘Really’ a Painfully Brilliant Work of Art

Rachel Cognata and Kippy Goldfarb in REALLY (photo by Paul Fox)

 

Really – Written by Jackie Sibblies Drury; Directed by Shawn LaCount; Costume Design by Amanda Mujica; Lighting Design by Jason Fok Scenic & Properties Design by Ben Lieberson; Sound Design by Lee Schuna. Presented by Company One Theatre in Partnership with Matter & Light Fine Art, a gallery in SoWa, 450 Harrison Ave., Boston through March 12.

 

 

There’s a touchingly beautiful song by Jackson Browne called “Fountain of Sorrow,” which begins with the songwriter stumbling across some photographs of an old girlfriend and remembering what their time together was like. In the song, he’s struck by one of the pictures of  her that he knows she may not have liked as much as the others, but that showed her “true” spirit, including a “a trace of sorrow in (her) eyes” – that forces him to realize “what I was seeing wasn’t what was happening at all” in the relationship.

 

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Trinity Rep’s “A MIDSUMMER NIGHT’S DREAM”

 

Reviewed by Tony Annicone

 

Trinity Rep’s current show is Shakespeare’s romantic comedy “A Midsummer Night’s Dream.” It was suggested by “The Knight’s Tale” from Geoffrey Chaucer’s “The Canterbury Tales” and was written between 1594 to 1596. This version is set at a 1986  Spring High School dance.

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Timely Relevance with Brecht on Brecht

 

By Michele Markarian

 

‘Brecht on Brecht’ – Written by Bertolt Brecht. Arranged by George Tabori, from various translations. Co-produced with Boston Center for American Performance. Directed by Jim Petosa; Music Direction by Matthew Stern; Scenic Design by Ryan Bates; Costume Design by Alyssa Korol; Lighting Design by Bridget K. Doyle. Presented at the Black Box Theater at the New Repertory Theatre, 321 Arsenal Street, Watertown through March 5.

 

Two men and two women rush out of the wings, wearing red clown noises and pushing a shopping cart. They babble and chant slogans relevant to today (…”nevertheless, she persisted”.  “No war”, etc) before bringing onstage a man in tails (music director and accompanist Matthew Stern) to the piano. “What the heck IS this?” I thought somewhat crankily, before settling in to the very entertaining, often moving, and frighteningly timely kaleidoscope of Bertolt Brecht and his writing, expertly directed by Jim Petosa.

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Arts Emerson’s ‘Beauty Queen’ of Leenane’ is a Tragicomic Masterpiece

 

By Mike Hoban

 

Beauty Queen of Leenane – Written by Martin McDonagh; Directed by Garry Hynes; Set & Costume Design by Francis O’Connor; Lighting Design by James F. Ingalls; Sound Design by Greg Clarke; Original Music Composed by Paddy Cunneen. Presented by the Druid Theatre Company of Galway at Emerson/Paramount Center’s Robert J. Orchard Stage by ArtsEmerson, at 559 Washington St., Boston through February 26th

 

Loneliness is a disease. It will gnaw at you like a cancer, and much like the disease of addiction, it can force you to abandon your basic human principles just to stave off that horrible feeling of emptiness. That point is driven home with both laughter and pathos in the “The Beauty Queen of Leenane” the tragicomic masterpiece now playing at the main stage of Emerson College’s Paramount Center. The play, which won multiple Tony Awards as well as a slew of ‘Best Play’ accolades when it made its debut on Broadway in 1998, is now in the midst of a twentieth-anniversary tour by Galway’s Druid Theatre Company, which swings through LA, New York, Boston, Pittsburgh, and Ann Arbor before heading to the Hong Kong Arts Festival in mid-March.

 

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