(Hawver, Geerloff, Linsteadt, and Price in GBSC’s “Million Dollar Quartet”)
By Mike Hoban
‘Million Dollar Quartet’ – Book by Colin Escott and Floyd Mutrux; Directed by Ilyse Robbins; Music Directed by James Scheider; Scenic Designer, Patrick Lynch; Lighting Designer, Jeff Adelberg; Costume Designer, Stephen Pasqual; Sound Designer, John Stone; Presented by the Greater Boston Stage Company, 395 Main Street, Stoneham through May 19
From the hammering opening riffs from Carl Perkins’ guitar until the rocking finale, Greater Boston Stage Company’s production Million Dollar Quartet is a scorcher of a show. A fictionalized account of an actual studio session featuring early rock n’ roll pioneersElvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins, Quartet may be the first “jukebox musical” that doesn’t make the moniker sound like an insult. In fact, the term is both accurate and complimentary as the songs blasting out of this jukebox are given explosive new life.
“Onegin” – Based on the poem by Pushkin and the opera by Tchaikovsky. Written by Amiel Gladstone and Veda Hille. Directed by Weylin Symes; Choreographed by Ilyse Robbins;Music Direction by Steve Bass;Scenic Design by Katy Monthei; Lighting Design by Jeff Adelberg;Costume Design by Deirdre Gerrard; Sound Design by John Stone.Presented by Greater Boston Stage Company, 395 Main Street, Stoneham through March 31.
“Do
you see someone worth dying for?” asked Vladimir Lensky (a winsome Michael
Jennings Mahoney) to a random woman in the audience. She thought a moment. “You!”
she said softly. He looked momentarily taken
aback, but recovered enough to thank her and keep the scene moving. Such is the
spirit of “Onegin”, a randy, insouciant and utterly captivating musical
rendering of Pushkin’s tragic novel in verse, “Eugene Onegin”. For anyone, and
that means everyone, who’s ever loved and lost, this show is a must-see.
‘Keeping Faith: Sisters of Story’ –
Written and performed by Rohina Malik, Kim Schultz, and Susan Stone. Music and
vocals by Lucia Thomas. Presented at Greater Boston Stage Company in Stoneham on February 22-24; New
Repertory Theater in Watertown on February 25-26.
“The greatest thing in the world is to do somebody a favor.”
Three women grace the stage and tell moving stories of compassion,
hope and understanding. These exceptional storytellers from different branches
of the Abrahamic faith traditions, are joined by a wonderful musical artist, to
weave a series of stories that celebrate their separate beliefs while
cultivating the commonalities we all share.
Rohina Malik, a Muslim woman, collaborated
with Kim Schultz, a Christian woman, and Susan Stone, a Jewish woman, to create
an artistic response to the hate and intolerance currently plaguing our
society. Lucia Thomas, a gifted and versatile
musician, uses violin, oud, guitar, and a
newly acquired banjo, to compliment the storytellers with songs that underscore
the themes and emotions in the tales. The performance is enhanced by the layering
of singing, instruments and storytelling. The effect is intimate and serves to
draw the listeners in.
The four strong voices blend together
messages of tolerance and wisdom. Each storyteller approached personal
struggles by reaching deep into their individual religions to find strength,
insight, and solace. While these religions are traditionally patriarchal, we
follow the footsteps of important women in the separate faiths, and learn more
about the singularity of the Divine Source central to them all.
The audience is invited to stay for a
question and answer session after the performance. It is a chance to process
the powerful messages crafted by these talented women, and a brief chance to
add our own piece towards healing the world.
“It’s a Wonderful Life” – Adapted from Frank Capra’s original screenplay by Weylin Symes. Directed by Tonasia Jones and Tyler Rosati; Scenic Design by Sarah Rozene; Costume Design by Chelsea Kerl; Lighting Design by Kayleigha Zawacki. Presented by the Greater Boston Stage Company at 395 Main Street, Stoneham, through Dec. 23.
Greater Boston Stage Company’s production of It’s A Wonderful Life is a lot like seeing a tribute band do songs from one of your favorite artists – just hearing the familiar tunes can bring a smile to your face or, in this case, the re-creations of scenes will certainly bring a tear to your eye. There are few holiday films that have the emotional impact that this classic does, rivaling the granddaddy of them all, A Christmas Carol. And for those of us who have made a viewing of the movie a Christmas season ritual, it’s almost impossible to not choke up when you know what’s coming – whether it’s Clarence getting his wings or George saving Mr. Gower from giving a lethal prescription to a child after he finds out his own son has died.
The Salonnieres, by Liz Duffy Adams. Directed by Weylin Symes. Produced by the Greater Boston Stage Company, 395 Main Street, Stoneham, through November 11.
As you walk into the theater, the first thing you see is Katheryn Monthei’s whimsically gorgeous set – what appears to be a lovely gilded cage, with period furniture, and a glossy purple cloth partially draped over it. This could be fun, I thought with some relief, a little subdued by the play’s fancy French title. And fun it is, as well as funny. Despite the laughs, the play has a pointed feminist bent that’s not without bite.
Calendar Girls – Based on the Miramax Motion Picture by Juliette Towhidi and Tim Firth; Directed by Nancy E. Carroll; Scenic Design, Jenna McFarland Lord; Costume Design, Gail Astrid Buckley; Lighting Design, Karen Perlow; Sound Design, Dewey Dellay;Presented by Greater Boston Stage Company, 395 Main Street Stoneham, MA through May June 17
By Alicia Googins
The women of “Calendar Girls” show enormous courage under fire. Fire, that is, of the camera snapping shots of them in the buff for an annual calendar. Based on the true story of the English Ladies Club members who bared it all in the name of love and scientific research, the play follows six women as they wade into the unknown waters of artistic nudity. To be fair (a phrase used often by the most modest and endearing of the lot, Ruth (Sarah DeLima), the photos are tasteful, and the women insist on referring to their state of undress as “nude,” not naked. But there’s plenty of room for scandal nonetheless.
BOX INFO: Greater Boston Stage Company presents the Boston premiere of multi-award winning playwright Matthew Lopez’s 100-minute, one-act, musical comedy through May 20: Thursday, 7:30 p.m. Friday, Saturday, 8 p.m., Sunday, 2 p.m. 395 Main St., Stoneham. Includes adult language and content. $45-$55; seniors,$40-$50; students with valid ID, $20. 395 Main St., Stoneham. greaterbostonstage.org, 781-279-2200.
Directed and choreographed by Russell Garrett, Matthew Lopez’s one-act play, “The Legend of Georgia McBride,” currently at Greater Boston Stage Company, brought last Wednesday afternoon’s audience to its feet, applauding enthusiastically.
Although the play is classified as a musical comedy, the actors primarily lip-synch, excluding co-star Jared Reinfeldt’s strumming an acoustic guitar and singing his original love song to his fiancé Jo. For me, though, seeing the show was a little bittersweet, especially after learning Boston iconic actor-director Tommy Derrah originally was supposed to helm this show. Unfortunately, he died after a brief illness on Oct. 5, 2017, at Mt. Auburn Hospital, Cambridge.
Miss Holmes – Written by Christopher M. Walsh; Based on characters created by Arthur Conan Doyle. Directed by Weylin Symes. Presented by Greater Boston Stage Company, 395 Main Street, Stoneham, through April 22.
Dorothy Watson (Brittany Rolfs) is a doctor who has managed to survive the infamous Surgeon’s Hill Riot in Edinburgh, where women scheduled to take their medical exams were harassed and assaulted by a protesting mob. She now works in a female-run hospital in London. Covered in blood from a surgery, she considers the proposal of her suitor, Dr. Michael Stamford (Patrick Varner), who offers “…a chance to put all of this unpleasantness behind you”. A chance meeting with Wilhelmina “Sherlock” Holmes (Marge Dunn) alters the course of Dr. Watson’s life, even as she resists it. The somewhat Asperger-y Holmes has a penchant for solving crime, much to the agitation of her brother, Mycroft Holmes (Alexander Platt). When a woman, Lizzie Chapman (Monica Giordano) comes to Sherlock with anonymous letters warning her to beware of her husband, law-enforcer Thomas Chapman (Daniel Berger-Jones), Holmes’s curiosity is piqued and the adventure begins.
BOX INFO: Greater Boston Stage Company adds a wee bit o’ green and Irish charm in Pulitzer Prize winner Frank McCourt’s play, directed by Dawn Simmons, through March 25: Wednesdays, Sundays,2 p.m.; Thursdays, 7:30 p.m.; Fridays, 8 p.m.; Saturdays, 3,8 p.m. $50-$60; seniors, $45-$55; students with valid ID, $20. 395 Main St., Stoneham. 781-279-2200, greaterbostonstage.org.
’Twas an Irish song and story fest when I saw Mynnelou Productions Inc. and the Bernann Company, LLC’s rollicking production of Frank McCourt’s “The Irish and How They Got That Way,” five years ago, in Somerville.
That production was so successful, it was extended for another week, by popular demand. The upbeat, two-hour, two-act, potpourri of Irish traditional, folk and contemporary songs and music accompanying the ensemble’s re-telling of Ireland and Irish-American history through their energetic comic anecdotes and skits, made Irish and non-Irish eyes smile at Davis Square Theater.
The Irish and How They Got That Way – Book by Frank McCourt; Directed by Dawn M. Simmons; Music Direction by Kirsten Salpini; Original musical arrangements by Rusty Magee; Additional musical arrangements by Kirsten Salpini; Presented by special arrangement with The Irish Repertory Theatre Company, Inc.by the Greater Boston Stage Company at 395 Main St, StonehamThrough March 25th
Anyone who utters the phrase “the Luck of the Irish” might want to take a closer look at history and reconsider its usage, as the Greater Boston Stage Company’s production of Frank McCourt’s The Irish and How They Got That Way clearly demonstrates. For all the adorable leprechauns and amusing anecdotes about excessive drinking that are associated with the Emerald Isle, there is also a rich vein of melancholy running through the saga of the Irish over the last few centuries, particularly the period that preceded their journey across the pond to America through the beginning of the twentieth century. Which is not to say that this production is in any way a downer. Quite the contrary, the six person (three men and three women) cast rips through a bevy of Irish tunes both familiar and obscure while generating both smiles and tears.
