Wednesday, November 14, 2018

QUICK TAKE REVIEW By Beverly Creasey PANdemonium at Hub

As the variegated pirates and wildly weird inhabitants of PETER AND THE STARCATHER are wont to say in the Hub Theatre extravaganza (@ The First Church downtown through Nov. 17th) :T T F N (Ta Ta For Now)… which means they’ll be back, again and again, swanning and swashbuckling to the delight of children, parents and ordinarily crusty reviewers. What’s not to like in Hub’s madcap mash-up of the tightly wound original PETER PAN.

Director Sarah Gazdowicz makes the production look like the inmates have taken over the asylum. The (barely) controlled hysteria reminded me of Imaginary Beasts’ free wheeling Pantomimes. Gazdowicz and several others in the Hub cast are stellar IB alumni, where imagination leaves no stone unturned. The best part of the PAN prequel is watching the characters wind up and then spin out all over the stage. Chief among them is Joey C. Pelletier’s nefarious Black Stache, arch-enemy of Peter. You know him as Captain Hook from the J.M. Barrie version. The clever children in the audience knew at once and said so out loud. (This version, imagined by comedian Dave Barry takes place before the other Barrie story. If this is confusing to you, just wait for the wacky exposition, which I still haven’t fully grasped)

Pelletier is a whirling dervish whose manic quips and quotes fly so fast, you can hardly keep up. He’s aided and abetted by Michael John Ciszewski as his right hand man who’s always right at hand, although the captain doesn’t notice him, thereby cementing his name. Pelletier bellows and Ciczewski answers frenetically “It’s me.” (Say this a few dozen times and you’ll see.)

Ciszewski specializes in running the best amok you’ll see all season. What’s more, you can’t wait to see Bob Mussett return as the elderly lady who thinks she might like to try romance again… even better still, she (in full beard, mind you) catches the eye of a gentlemanly seaman portrayed in marvelous deadpan by Lindsay Eagle! More delicious turns from Robert Orzalli as a Cosa Nostra chef with a menu you can’t refuse, from Jon Vellante as one of the lost, so hungry boys that he faints at the mention of sticky pudding, from David Makransky as the other lost boy who wants to be “leader” and from Molly Kimmerling as a nasty villain of a captain.

The plot is hung on the (mostly serious) characters… who don’t get to be funny but they do get to deliver some very touching moments. Claire Koenig as Peter is a wonder. We believe she’s the boy who doesn’t want to grow up (because grown-ups lie and cheat). Smart fellow! Lauren Elias as the Wendy stand-in (Please don’t ask me why she’s not actually named Wendy), does have some sport, challenging and besting the “lost boys” and some heartache when she leaves them. Liz Adams as her stalwart father oozes good breeding and fair play. Valera Bamgala, likewise, is the stand up captain of the ship with the wrong cargo. (Again, don’t ask me about the cargo. I completely lost track of the second treasure chest and I’ve seen the play before.)

Here’s the deal. The brilliant ensemble cast keeps you on your toes, expecting another surprise around the next corner. And the surprises keep coming. You’re laughing so hard, you’re afraid you’ll laugh over the dialogue so you try to squeal quietly, using your inside voice so you won’t miss anything. It’s exhausting, having such a grand time. Who cares about the silly plot anyway.



Wednesday, November 7, 2018

Capsule Review By Beverly Creasey ACCOMODATION COMPLICATION

One of the best performances of the season is Paula Plum’s as a lonely, timid soul who opens up to a ROOMMATE (@ Lyric Stage through Nov. 18th). The play turns on a very thin, implausible dime about half way through but director Spiro Veloudos picks up the pace and pulls it off, even as you shake your head in disbelief that it could work. The best line in the play is Adrianne Krstansky’s about children: “They don’t have to like us. They just have to live long enough to become us.”




American Classics’ revue, YIP! YIP! YAPHANK (Irving Berlin’s World War I Soldier Show) pulls out all the stops. Berlin became a citizen, became famous for his popular songs, got drafted into the Army and convinced the Brass he’d be more useful writing them a show. Everyone, not just the doughboys, knows Oh, How I Hate to Get Up in the Morning (Someday I’m going to murder the bugler…) The American Classics’ combo, led by Joe Della Penna, included drums (Dean Groves), and of course, a bugler (Jason Huffman)!

Since 2018 is the 100th anniversary of the “War to End All Wars” you’ll be seeing a lot of historical footage but American Classics’ effort, for my vote, hits just the right notes. It seemed like a cast of thousands (really only 17) but they packed the Longy Stage in Cambridge with precision marching, not to mention an impressive precision tambourine drill from one of Berlin’s Minstrel Shows.

Just like the boys at boot camp (near Yaphank in Long Island) donned wigs and pearls, the American Classics ensemble dressed up as the famous Floradora Girls, led by AC founder Brad Conner as Ethan Sagin’s sweetie in Sterling Silver Moon. Ben Sears kicked off the bittersweet songs Berlin wrote to buck up his fellow infantrymen, with the charming Smile and Show Your Dimple (Light your face up and brace up).

Narrated by Peter A. Carey, AC found delightful parodies and more than a few show stopping sentimental songs like Joel Edwards’ gorgeous (Dream on, Little) Soldier Boy, sung with a humming chorus. If Brian DeLorenzo’s letter home to mother, (I Can Always Find a Little Sunshine in) The YMCA, didn’t already have us in tears, the barbershop harmony sold it, sliding into a heart-wrenching finish. Then the soldier boys trooped off the stage with the sobering We’re On Our Way to France. They returned for an encore of the original 1918 version (two decades before Kate Smith’s smash hit) of God Bless America, written to a slightly different tune. For an hour or so, you felt hopeful for a world dedicated to peace and prosperity.

Saturday, November 3, 2018


Theatre on Fire has a gift for finding cheeky, boisterous British comedies like Lucy Kirkwood’s naughty, savagely funny NSFW (playing @ CWT through Nov. 17th). NOT SAFE FOR WORK debuted in 2012 at the Royal Court Theatre in London and it couldn’t be more current now.

You know, of course, that the British are obsessed with sex… not just those cringe-worthy BENNY HILL comedies. Their daily rags sport titillating front page headlines like “House of Lords entangled in sex ring” and worse on line. It’s the way we’re obsessed with political conspiracies here (although thanks to this president, you’re hard pressed to find a respected daily that doesn’t reference his sexual assaults). We’re at last becoming British! Two wars couldn’t do it but this pathological narcissist has accomplished it without even trying.

Here’s the set-up for NSFW. A British version of PENTHOUSE named DOGHOUSE may have published something clearly illegal and we get to see A) How they try to wriggle out of it and B) How everyone, it seems, will compromise their morals when there’s a substantial payoff involved and C) We get to observe the inner workings of a creepy, sexist enterprise. In point of fact, we see it twice, when C) reverses itself in Act II, with turnabout/fair play except that nothing is fair in Kirkwood’s dog eat dog publishing world.

The dialogue is clever and heady, referencing everything from the latest endocrine research to Nancy Mitford’s code words to identify class. Director Darren Evans’ cast is spot on. The physical comedy is inspired, with one character’s humiliating journey from pillar to post (the hilarious Isaiah Plovnick) to another’s battle to the death (metaphorically speaking, of course) with Spanx. Anna Wintour can’t hold a candle to Becca Lewis’ man-eating managing director.

David Anderson turns in another tour de force (you may recall his dazzling work for Zeitgeist), this time as the sleazy head of DOGHOUSE magazine. He knows every dog whistle in a journalist’s lexicon, reducing each and every one of his employees to rubble. There’s Ivy Ryan in a nicely nuanced performance as his willing assistant (whose face and body language register “unwilling”) and Padraig Sullivan, utterly charming as a poor, benighted, Argyle (sweatered and souled) homebody totally unsuited for this kind of work.

Best of all, to my mind, is Dale J. Young as a wronged citizen, a father who just wants to bounce his little girl on his knee again, a wretched creature with no family now, no hope ahead of him and no way to prevail against Anderson’s cold-hearted, manipulating bastard.  

Saturday, October 27, 2018

New Review By Beverly Creasey Nunsensical Naughtiness

Who would have thought that a small, out-of-the-way theater like Curtain Call would have the answer to the overwhelming Sturm and Drang oppressing us daily! They’re offering the chance to escape the relentless political mayhem by embracing the comic mayhem of NUNSENSE THE MUSICAL (playing through Nov. 4th). Laughter, it seems, may be the only respite we have.

Audiences evidently adore nuns behaving badly… almost as much as misbehaving puppets: Dan Goggin’s musical has both, from an irreverent Reverend Mother to an unruly puppet called Sister Mary Annette. It seems the NUNSENSE franchise is going strong still, with sequels and spin-offs everywhere. But essential to a successful send-up are comic timing, truthful portrayals and crackerjack performers who can sing, dance and spoof. Director/choreographer David Costa has a professional cast who make it look easy, even the raucous tap number!

Mary Beth Murphy as Mother Superior reigns over her brood with a severe side glance that most school children instantly recognize… but you don’t have to be Catholic to be familiar with the stern stance of authority, or to delight in the Reverend Mother’s unintentional tumble from grace. Murphy’s momentarily lapsed Right Reverend is a hoot.

Christine Kenney as Sister Robert (with a decidedly broad Bronx accent) gets lots of laughs complaining about playing second fiddle to Mother Superior. She even gets a song about it. Nikita DaRosa gives a winning performance as the sweetest ballet dancing Sister Mary Leo I’ve encountered in many a NUNSENSE… and Kels Ferguson wins our hearts hands down, as the slightly vague Sister suffering mightily from amnesia. Ferguson and her puppet steal the show outright. Not only does she voice Sister Marie Annette without moving her lips, her own voice in their duet is a unique blend of Disneyfied warble and operatic Bel Canto. Bravo.

Rena Pemper-Rodriguez gets to fire up the audience as if it were a Revival Meeting with her Holier Than Thou hoedown. Music director Danielle Clougher steps up the tempo for a rip-roaring finish to the show. When I attended, the audience was responding to Sister Hubert like it was an evangelical service with call and response! David Costa and company have conjured up some virtuoso alchemy for a truly delightful NUNSENSE.

Wednesday, October 24, 2018

QUICK TAKE REVIEW By Beverly Creasey Remembering and Revisiting Childhood

FUN HOME (@ BCA through Nov. 24th) is the kind of intimate, artful musical which is right up SpeakEasy’s alley. They take small works like Jason Robert Brown’s A New Brain or Tony Kushner’s Caroline, or Change and give them the definition that might be lost in a huge theater. That said, FUN HOME won a slew of Tony Awards in New York including Best Musical, being the first musical with a lesbian central character to do so.

FUN HOME (music by Jeanine Tesori/book and lyrics by Lisa Kron) is based on the graphic novel by Alison Bechdel, which Bechdel sardonically calls “A Family Tragicomedy”… Tragic certainly as the loss of a parent can be to the survivors, but comic because she had inventive siblings for support. In the musical they make up a delightfully irreverent, faux advertisement for their father’s funeral home business (hence the title of the musical).

All isn’t fun for Alison and her brothers. Their father is remote and can be cruel on occasion. We meet Alison at three times in her life, as a schoolgirl (Marissa Simeqi), as a college student (Ellie van Amerongen) with Amy Jo Jackson as principal narrator of the musical at age 43. The trick is that they’re all sharing the stage together.

The forty three year old has a grown-up’s empathy for her gay, closeted father because “he didn’t know what to do… he wanted more out of life” but the eight year old didn’t understand why he constantly belittled her ideas. In fact both father (Todd Yard) and mother (Laura Marie Duncan) burden Alison with their problems. Both parents have musical moments where they lay bare their emotions but Duncan’s “Days and Days” about “the day you disappear” is a show stopper.

Director Paul Daigneault has a talented cast to bring home the coming of age story… and because music director Matthew Stern and the small-scale ensemble are on stage, FUN HOME becomes a cozy chamber musical. Tesori’s score ranges from mother’s classical etude to a wonderful rock n’ roll number, Ring of Keys featuring solid guitar work from Tom Young.

Van Amerongen totals up lots of laughs when she finally feels comfortable enough to come out, in the riotous Changing My Major [to Joan]. Desire Graham is a standout as the object of her affection, as are Cameron Levesque and Luke Gold portraying her precocious, younger brothers.



Monday, October 22, 2018

QUICK TAKE REVIEW By Beverly Creasey Line of Demarcation

The Improbable Players develop plays about addiction (alcohol/ cocaine /heroin/opiates etc.) which they perform in schools and community settings, with education and prevention their goal. Their impressive showcase, END OF THE LINE: “Confronting the Epidemic” occupied the Mosesian main stage at the Watertown Arsenal this past Wednesday night (Oct. 17th).

Originally conceived and directed by Lynn Bratley (and continued by Joanna Simmons and Chris Everett), the evening of stories and vignettes were gathered by interviewing people who know the pain of addiction without knowing how to embrace change. The actors have lived similar stories because they themselves are in recovery. What comes across to an audience is their generous spirit and a genuine affection for the characters they inhabit.

In one heartbreaking sketch, a small child (Caryn May) finds drugs in her mother’s unattended purse. In another a desperate woman (Meghann Perry) calls multiple pharmacies to renew an opiate prescription with “no refills.” In another scene, a game show host (Jon Riemer) asks the audience to identify the addict. In the last scene of the evening Christian Santilli’s character is literally tied in knots trying to find his way out of the addiction cycle. What we witness in all the depictions is how easily someone in dire need will turn to another, far more dangerous drug without realizing or caring what it will do to them.

Years ago it was thought that ads and slogans could “scare people straight”… Now we know that doesn’t work. Remember Nancy Reagan’s “Just Say No” campaign or the public service television spot showing an egg crack open in a frying pan. The baritone voice warned us “This is your brain on drugs.” The problem is that these platitudes are impersonal or at best, one size fits all. The dozen or so actors of Improbable Players make their live message of hope “up front and personal” and that makes all the difference.