NSMT’s “THE MUSIC MAN”

Reviewed by Tony Annicone

The opening show of Bill Hanney’s North Shore Music Theatre’s 62nd season is “The Music Man” by Meredith Willson. This musical first opened on Broadway on December 19, 1957 and ran for 1,375 performances. Robert Preston played the leading role of Harold Hill who cons the good citizens of River City, Iowa into buying musical instruments and band uniforms by promising to create a boy’s band in the town. Not knowing a clarinet from a saxophone, Hill expects to skip town with cash in hand, only to be caught by the arms of the beautiful Marian Paroo, the librarian, who transforms him into a reformed rouge and respectable citizen by the close of the show.

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Reagle’s “JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT”

 

Reviewed by Tony Annicone

 

Reagle Music Theatre’s first summer musical of their 49th season is “Joseph and the Amazing Technicolor Dreamcoat”, the biblical story of Jacob and his 12 sons. It is a spectacular presentation and stars country star Ayla Brown as the Narrator and IRNE nominee Peter Mill as Joseph. It was written in 1968 by Andrew Lloyd Webber and Tim Rice as a 15 minute cantata, this now two hour show is high energy from start to finish. The storyline is told by a narrator who interacts with her fellow performers at various times in the show. Joseph has prophetic dreams and is the most loved son of his doting father, Jacob who gives him a coat of many colors. It is a story about this boy with dream interpretation whose 11 brothers become jealous of him. They especially don’t like his prophecies and his splendid coat and sell him into slavery in Egypt. There Joseph rises from house slave to become Pharaoh’s second in command because of his gift for interpreting dreams. Director and choreographer Susan Chebookjian and music director Dan Rodriguez have all the necessary ingredients to make this high energy blockbuster musical one of the must see shows of this season.

Susan takes this story and creates many picture postcard scenes along the way. She combines shtick and pathos together excellently for the audiences to savor and enjoy. Susan dance’s are also breathtaking and include hoe down, tango, the ballet, the swim, the conga line and the rock and roll dances of the 1960’s. The numbers stop the show with sustained applause. Dan taught the cast the many different styles of songs to the cast with the harmonies soaring in them. He also conducts a marvelous 17 piece orchestra. The scenic design of the show by Peter Calao and Richard Schreiber is astounding and the costumes by Goodspeed Musicals are splendid including some colorful outfits for “Go, Go Joseph.” Stage manager Nicky Carbone keeps things moving smoothly all night long, making it flow seamlessly from one scene to the next.

The most important part of this show are the two leads. The Narrator is played by beautiful and statuesque, Ayla Brown. She has a fantastic soprano voice which soars in all her numbers including the Prologue, “Poor, Poor, Joseph” and “Go, Go Joseph.” She weaves her way in and out of the numbers with the rest of the cast beautifully. Ayla can not only belt some of the songs but sings sweetly on her softer ones, too. She interacts with the superb children’s chorus who join in on several numbers during the show. Ayla has grown into a seasoned actress and vocalist since I last saw her do this role back in 2008. She is a dynamic performer and makes this role her own. Her talented partner in the show is Peter Mill as Joseph. He was for the IRNE award for Mary Sunshine in “Chicago.” He has a fabulous tenor voice whether he is singing softly in “Any Dream Will Do” or with deep feeling and emotion in “Close Every Door” where his voice soars off the charts, sending chills up your spine with its poignancy. Peter’s interactions with other cast members is terrific whether is he is speaking with his brothers, father, Pharaoh and the rest. The warm relationship between Joseph and Jacob comes through dramatically in the reunion scene with Peter singing “Any Dream Will Do” in the arms of his father. There wasn’t a dry eye in the house after this scene.These two strong leads set the bar high for the rest of the cast to live up to which they do in spades.

The other 11 brothers have oodles of talent, too. They shine in their singing and dancing prowess. The standout solos include the country western song “One More Angel” sung slowly and sadly to Jacob and then with wild abandon by Bernie Baldassaro in his lilting tenor voice, the Benjamin Calypso is sung by Taavon Gamble another powerful tenor, and another voice that soars off the charts is Jacob Sherburne who sings the French type song, “Those Canaan Days.” Jacob and his wife are expecting their first baby in July. The other talented brothers include Chris Scott who also plays the butler, Anthony Gervais who also plays the baker, Christopher Infantino, Adam Winer, Louis Brogna, AJ Manuel Lucero, Leo Galletto and Jack Dwyer. Another stunning performer is Andrew Giordano as the Pharaoh. He plays the part perfectly making the girls faint at his feet. Andrew’s Elvis impersonation is fabulous and his diction is perfect, ensuring you understand every line of the “Song of the King.” Jacob is excellently played by Rick Sherbourne with a great deal of warmth and feeling. He also plays Potiphar while Joy Clark plays his slutty wife where the women are dressed in 1920’s garb and dance the Charleston during the number where she seduces Joseph. The women have more to do in this new version of the show where they sing and dance up a storm. The Mega Mix is where the energetic cast reprises most of the songs from the show brilliantly. So go, go see “Joseph and the Amazing Technicolor Dreamcoat” at Reagle Music Theatre to lift your spirits up during the 49th anniversary of this theatre that brings Broadway close to home. Run do not walk to the box office. Tell them Tony sent you.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (8 to 18 June)

Reagle Music Theatre, 617 Robinson St, Waltham, MA

1(781)891-5600 or www.reaglemusictheatre.org

Lyric’s Abridged Version of “Camelot” Still a Delight

 

By Mike Hoban

 

Camelot – Book and Lyrics by Alan Jay Lerner, Music by Frederick Loewe; Directed by Spiro Veloudos; Music Direction by, Catherine Stornetta; Choreography by Rachel Bertone; Scenic Design by Shelley Barish; Costume Design by Elisabetta Polito; Sound Design by Elizabeth Cahill; Lighting Design by Karen Perlow. Presented by The Lyric Stage Company of Boston at 140 Clarendon Street Boston through June 25th.

 

Less isn’t always more, but with The Lyric Stage Company’s lovingly trimmed production of Camelot, less is more than enough. Although I’ve been a huge fan of this musical from boyhood, it has always seemed a bit too long, so while this this version may lack some of the grandeur of a “full” staging, it more than makes up for it with some solid performances by its leads and strong cast of supporting players.

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A.R.T.s “Arrabal” Electrifies

 

By Mike Hoban

 

Arrabal – Book by John Weidman; Music by Gustavo Santaolalla/Bajofondo; Choreographed by Julio Zurita; Directed and co-choreographed by Sergio Trujillo; Choreography by Julio Zurita; Scenic Design by Riccardo Hernandez; Costume Design by Clint Ramos; Lighting Design by Vincent Colbert; Sound Design by Peter McBoyle; Projection Design by Peter Nigrini. Presented by the American Repertory Theater at the Loeb Drama Center, 64 Brattle St., Cambridge, through June 18

 

It may be relatively early in the 2017 theater season, but it seems highly unlikely that anything you will see on Boston stages (or anywhere else) this year will pack the kind of visual, aural and emotional wallop that Arrabal – now making its United States premiere at the American Repertory Theater in Cambridge – will deliver to the senses. This tango-based work combines Latin music and dance with a horrific (and true) political story to create a singular theatrical experience that is alternately steamy and harrowing.

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Lyric Stage Delivers Fresh Take on “Camelot”

 

Reviewed by Tony Annicone

 

The closing show of Lyric Stage’s season is “Camelot”, a musical by Alan Jay Lerner and Frederick Loewe. It is a fresh new take on this classic musical by David Lee, a cautionary tale based on the King Arthur legend as adapted from the T.H. White novel “The Once and Future King.” The original Broadway show opened on December 3, 1960, ran for 873 performances and won 4 Tony Awards, and the original cast album was America’s top selling LP for 60 weeks.

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THE PIRATES OF PENZANCE (The Wilbury Group, Providence, RI)

 

Reviewed by Tony Annicone

 

The Wilbury Group’s closing show of their season is “The Pirates of Penzance” by Gilbert and Sullivan wildly adapted by Sean Graney and Kevin O’Donnell. The show first opened on December 31, 1879 but this version is a fresh take on their most popular comic opera. This subversive, loopy, and fantastically eccentric take on Gilbert and Sullivan’s preposterous musical took audiences in Chicago by storm when presented by rebel theatre makers The Hipocrites.

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Ellis A Revelation in Speakeasy’s “The Bridges of Madison County”

 

by Michele Markarian

 

‘The Bridges of Madison County’ – Book by Marsha Norman. Music and Lyrics by Jason Robert Brown. Based on the novel by Robert James Waller. Directed by M. Bevan O’Gara. Music Direction by Matthew Stern. Presented by Speakeasy Stage Company, Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street, Boston, through June 3.

From the opening strains of a sole, mournful cello, you get a sense that the story about to unfold is a sad one. Let me clarify by saying I may have been the only person in the audience unfamiliar with the book or film. Which is a good thing, because I find musical adaptations of films in general to be lackluster, pallid affairs. But M. Bevan O’Gara and the cast of Speakeasy Stage Company’s “The Bridges of Madison County” do such a great job creating an alternate reality that I was truly transported. Adding to the magic is the score, which is very, very intriguing.

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LAB’s “Yellow Bird Chase” Great Fun for Kids – And Adults

 

by Mike Hoban

 

‘Yellow Bird Chase’ – Conceived and Directed by Jason Slavick; Written by the LAB Ensemble; Scenic Design and Props by Rebecca Lehrhoff; Puppetry Direction & Design by Penny Benson; Costume Design by Kendra Bell; Lighting Design by PJ Strachman. Presented by Liars & Believers (LAB) at the Boston Center for the Arts, Martin Hall, 527 Tremont Street Boston through May 21.

 

There’s a lot of fun to be had at Liars & Believers’ expanded production of ‘Yellow Bird Chase’, the laugh-filled fairy tale with music that marks their debut as Artists in Residence at the Boston Center for the Arts. Originally developed as a 30 minute piece for the 2015 “Outside the Box” festival, “Yellow Bird” is 70 minute mash-up of clowning, puppetry, and cabaret-style music that is pure entertainment. And while the production appears to be aimed mostly at the kiddies, there’s still plenty to keep the adults in the audience amused, particularly if they’re fans of iconic 60’s pop tunes.

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Praxis’ “Jesus Hopped the A Train” a Tense, Provocative Journey

 

by Michele Markarian

 

“Jesus Hopped the A Train”. Written by Stephen Adly Guirgis. Directed by Dayanne C. Byron Walters and Daniel Boudreau. Presented by Praxis Stage at the Dorchester Art Project, 1486 Dorchester Avenue through May 21.

 

Walking into the tiny, bare bones space at 1486 Dorchester Avenue, where Praxis Stage is performing “Jesus Hopped the A Train”, I was immediately filled with a stab of homesickness for those theater spaces that used to thrive in Boston and Cambridge before the gentrification of theater prevailed – The Leland Center. The Piano Factory. Little Flags Theater. Without large budgets and grants, theater artists had to rely less on production values and more on sheer energy and talent – which this production has an abundance of.

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Ragtime (Little Theatre of Fall River)

Reviewed by Tony Annicone

 

Little Theatre of Fall River’s closing musical of their season is the 1998 hit musical “Ragtime” which is based on E. L. Doctorow’s 1975 novel. The epic sweep of this musical is captured in its opening prologue, a nine minute kaleidoscope of fictional characters mingling with historical ones. At the dawn of the twentieth century, everything is changing and anything is possible. Set in the volatile melting part of turn of the century, New York, three distinctly American tales are woven together, that of a stifled upper class wife, a determined Jewish immigrant and a daring young Harlem musician. They are all united by their courage, compassion and belief in the promise of the future. Together they confront history’s timeless contradictions of wealth and poverty, freedom and prejudice, hope and despair, and what it means to live in America. This epic musical is excellently directed by Aaron Gendreau-Visco, Deb Sadler and Bobby Perry. They capture the flavor and the essence of early 1900 New York. This is definitely one show not to be missed.

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