“Love, Loss and What I Wore” – Written by Nora Ephron and Delia Ephron. Based on the book by Ilene Beckerman. Directed by Paula Plum. Presented by Hub Theatre Company of Boston, Club Café, 209 Columbus Avenue, Boston, through August 5.
“Love, Loss and What I Wore” opens with a woman (June Kfoury) cataloging her life by drawing dresses – dresses that she’d had and loved as a girl, dresses she remembers her mother, grandmother, and aunt wearing – as a means of recording her memories. She lost her mother early in life – a theme of a few of the show’s monologues – and is turned over to her grandmother and aunt, thus losing her father as well. Somehow, she takes comfort in remembering her loved ones through their outfits.
‘STEW’ – Written by Zora Howard. Directed by Rosalind Bevan. Scenic Design by JennaMcFarland Lord. Costume Design by KJ Gilmer. Lighting Design by Kat C. Zhou. SoundDesign by Aubrey Dube. Presented by Gloucester Stage, 267 E Main St, Gloucester, MAthrough July 23.
By Shelley A. Sackett
Stew is any dish that is prepared by “stewing” — that is, submerging the ingredients with just enough liquid to cook them through on a low flame in a covered pot for a longtime. It is also a synonym for brooding. One who is in an extreme state of worry and agitation is said to be “stewing.”
Jared Troilo, Kirsten Salpini in “Fascinating Rhythm”
By Michele Markarian
“Fascinating Rhythm” – Created by and Starring Kirsten Salpini and Jared Troilo. Presented by The Lyric Stage Company of Boston, 140 Clarendon Street, Boston through July 16.
“Fascinating Rhythm,” created and performed by Kirsten Salpini and Jared Troilo, is a lively and entertaining tribute to the music of George Gershwin and Leonard Bernstein, with the intimacy and warmth of a house party to which you’ve been specially invited. The two talented performers periodically don costumes (Gershwin and Bernstein, who else?), play piano, and sing their way – with inspired pockets of audience participation – through a well-rounded catalog of works by both composers.
Cast of ‘The Sound of Music at NSMT’. Photos by David Costa Photography
‘The Sound of Music’– Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Directed by Kevin P. Hill. Music Direction by Milton Granger. Choreography by Briana Fallon. Scenic Design by Kyle Dixon. Costume Design by Kelly Baker. Lighting Design by Jose Santiago. Sound Design by Alex Berg. Wig & Hair Design by Rachel Padula-Shufelt. At North Shore Music Theatre, Beverly, MA through July 23, 2023.
By Linda Chin
Let’s start at the very beginning. When crystal chandeliers in a circular formation descend from up high, Maestro Granger lifts his baton, the orchestra and nuns of Nonnberg Abbey open Act 1 with the hauntingly beautiful “Praeludium,” and the theatre comes alive with glorious sounds of music, all seems right with the world. But those familiar with The Sound of Music or European history (or who like me, learn about people and cultures from theater as well as textbooks) know that in 1938, in Nazi-occupied Austria at the cusp of World War 2, all is not harmonious.
Chingwe Padraig Sullivan and Dylan C. Wack talk on the couch. (Courtesy Niles Scott Studios)
Written by Larry Kramer. Directed by Shira Helena Gitlin. Scenic Design by Melody Hsu. Lighting Design by Michael Clark Wonson. Sound Design by Mackenzie Adamick. Costume Design by Zhihan (Sandra) Jia. The Black Box Theater at the Mosesian Center for the Arts, Watertown, through July 9, 2023.
by Linda Chin
New Rep’s 2023-24 season opener, The Normal Heart, a largely autobiographical work by the late playwright/activist Larry Kramer, provides a little-seen lens into the surging AIDS crisis in the 1980s. Kramer’s occasionally humorous, mostly heartwarming, and ultimately heartbreaking drama tells the story of two writers, both gay men – loud and hot-headed protagonist Ned Weeks (Dylan C. Wack) and mild-mannered and more chill Felix Turner (Chingwe Padraig Sullivan). They reconnect after a random bathhouse encounter years before and become lovers and soulmates. The versatile Zach Kelley and Ken Yotsukura are the play’s Everymen, portraying multiple roles, including Gay Men’s Health Crisis (GMHC) director Tommy Boatwright and Mayor’s assistant Hiram Keebler, friends David, Craig, Grady, community volunteers, and health care workers). Equity actors Brian Demar Jones (as the closeted Citibank executive Bruce Niles), Luis Negrón (as Ned’s big brother Ben, a successful, straight lawyer), Cailin Doran (as the ultra-competent, compassionate physician-scientist Dr. Emma Brookner), and Will McGarrahan (as long-term City employee Mickey Marcus) display even, calm demeanors that lower the intensity of the narrative and strong acting skills that raise the bar of the performance.
Joshua David Robinson, Firdous Bamji, and Steven Skybell in ‘The Lehman Trilogy’ at the Huntington. Photos by T. Charles Erickson
‘The Lehman Trilogy’ – Written by Stephano Massini and Adapted by Ben Power. Directed by Carey Perloff. Scenic Design by Sara Brown; Projection Design by Jeanette Oi Suk-Yew; Costume Design by Dede Ayite; Lighting Design by Robert Wierzel; Original Music by Mark Bennett; Co-Sound Design by Mark Bennett and Charles Does. Presented by the Huntington Theatre, 264 Huntington Ave., through July 23.
By Shelley A. Sackett
A lone and mournful clarinetist (Joe LaRocca) wanders across the stage of the Huntington’s theatrically astonishing “The Lehman Trilogy,” inviting comparisons in tone and content to the spirited drama “Fiddler on the Roof.” Steeped in ritual and Judaism, both stories trace what happens to a family when political oppression forces it to leave home, leading most of its members to emigrate to America.
Kelly McAndrew and Dan Butler in ‘Misery’ at Dorset Theatre
‘Misery’ –Written by William Goldman based on the novel by Stephen King. Directed by Jason Gay. Scenic Design by Riw Rakkulchon; Costume Design by Fabian Fidel Aguilar; Lighting Design by Joey Moro; Sound Design by Daniel Baker/Broken Chord. Presented by Dorset Theatre Festival, Dorset, Vermont, through July 8.
By Shelley A. Sackett
Fans of Stephen King’s 1987 novel or Rob Reiner’s 1990 award-winning film, Misery, should not expect more of the same from Dorset Theatre Festival’s season opener, Misery. Playwright William Goldman has transformed the nail-biter of a scary suspense thriller into a lukewarm reminder of its prodigal self.
The excellent cast, director, and production team make the most of the script and gift the audience with an enjoyable evening of theater, but it was hard not to wonder what the same team might have cooked up had they had better-quality raw ingredients.
Cast of Reagle Music Theatre’s ‘Oklahoma!’ Photos by Robert Pascucci
Oklahoma! – by Richard Rogers and Oscar Hammerstein II. Direction and Choreography by Rachel Bertone. Music Direction by Dan Rodriguez. Scenic Consulting by Cameron McEachern. Lighting Design by Frank Meissner, Jr. Costume Design by Emerald City Theatrical. Sound Design by Sebastian Nixon. At Reagle Music Theatre of Greater Boston, Waltham, through July 2.
by Linda Chin
With award-winning director and choreographer Rachel Bertone and music director Dan Rodriguez at the helm, Frank Meissner, Jr. (Lighting Design), Cameron McEachern (Scenic Consultant), Emerald City Theatrical (Costume Design) on the creative team, Reagle’s production of Oklahoma! was bound to be a feast for the senses. From the moment the overture begins, the 19-piece orchestra envelops you with lush sound. The bright yellow drop (adorned with figures of cowmen and farmers) that welcomed you to the theater rises to reveal a world of yesteryear – a farmhouse with a front porch, white picket fences, and a hand-painted backdrop of the open sky that is both realistic and dreamy – you can imagine the sweet breezes and smell of hay.
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.
