"Crazy for You," a delightful old-fashioned escapist musical at the Stratford Festival

What does someone do when they are given the opportunity to obtain the rights to 400 George and Ira Gershwin songs?  If you are Roger Horchow, who, at age six, heard George Gershwin play the piano at his house, you hire creative Ken Ludwig, the author of such shows as  “Lend Me A Tenor,” to write a funny story and incorporate into it eighteen songs from nine shows that were produced between 1918 and 1937.

“Crazy for You,” a version of which is being staged at the Stratford Festival in Ontario, Canada, is the show that resulted from the Ludwig-Gershwin collaboration.  There are the witty lyrics of Ira Gershwin and the varied musical sounds of George Gershwin, including blues, ragtime, jazz and western, and Ludwig’s outrageous script. 

It is a typical 1930s song and dance show with a slight farcical plot, with no moral or message.  It contains romance, mistaken identity, farcical situations, slapstick, and sexual innuendoes.
 
If you didn’t know better you’d perceive “the new Gershwin musical” as written in the pre-depression era.  Not, so.  It’s a creation that won the 1992 Tony Award for Best Musical.

The original Broadway production ran for 1,622 performances.  The highlight of the staging was Susan Stroman’s tap-dancing production numbers and director Mike Ockrent’s farcical staging.

The story line concerns Bobby Child, the rich son of a banker, who has a yen to be a musical theatre star.  He wants to appear in the Zangler Follies (think the Ziegfeld Follies), but Bela Zangler won’t give him a break.  Bobbie is sent by his family’s bank to foreclose on a theatre in the old west.  He, of course, falls in love with Polly, the local postmistress, whose mother used to be the star performer at the theatre.  Of course, Polly has song and dance talents.  They decide to put on a show to save the theatre.  (Yes, it’s Mickey Rooney and Judy Garland set in the old west.) 

There has to be a plot twist or two, so Billy’s wealthy fiancée follows him to Deadrock, Nevada. Bobby has the dancers from the follies, who together with a bunch of cowboys, become the theatre’s singing and dancing chorus, Bela finds out and comes to claim his beauties, and . . .. 

More explanation of the plot is possible, but this isn’t a “who done it” with a surprise ending.  We know how the whole thing comes out after the first ten minutes of the play.  Boy meets girl, boy gets girl, another boy gets another girl, the theatre is saved and Bobby and Polly become stars.  Curtain!

Some of the songs that flow from the stage are, “Bidin’ My Time,” ”Shall We Dance?”, “Someone to Watch Over Me,” “Embraceable You,” ”They Can’t Take That Away From Me,” and “Nice Work If You Can Get It.”  Highlight production numbers are “I Got Rhythm” and “What Causes That?.”

Creatively directed and choreographed by Donna Feore, “Crazy for You” is a total delight.  She has a nice touch in staging the ridiculous.  A scene of two drunks having a fight in a bar is one of the funniest routines every staged.  The shticks, gimmicks and exaggerations all work.  Ridiculousness runs rampant, to the delight of the audience.

Adorable Natalie Daradich creates a Polly who is emotionally accessible, sings and dances well, and sparkles on stage.  Josh Franklin has matinee idol good looks, a fine singing voice, and a nice touch with comedy.  Tom Rooney is properly ridiculous as Bella Zangler.  The folly girls and the cowboys are well trained in dance and sing with gusto. 

The sets work well, the costumes are era correct and the orchestra is pitch perfect.

Capsule judgement:  “Crazy For You” is a total delight.  Anyone who loves the fun and ridiculousness of an old time musical, complete with a marvelous George and Ira Gershwin score, will have a wonderful time attending this Stratford production.
For individual tickets call 800-567-1600 or go on-line to http://www.stratfordfestival.ca.

"Man of La Mancha" vividly envisions the quest for the impossible dream

What motivates someone to endanger himself in to march into hell to accomplish an impossible dream?  What inspires someone to fight the impossible foe?  Why do some people see the best in others, ignoring their scabs, their sores, and their obvious flaws?  Is it a person who is insane, a dreamer, or a fool who sees the world through different eyes than the rest of society?

Dale Wasserman’s book, Joe Darion’s lyrics, and Mitch Leigh’s music, which form the basis for “Man of La Mancha,” pose these questions.  Answers aren’t presented, but a gauntlet is thrown down for those who view a production of the masterfully developed musical to answer those questions for themselves, and in the process, even be inspired to become a Don Quixote.  To become a dreamer with a cause, who follows the creed, “My destiny calls and I go, And the wild winds of fortune , Will carry me onward,  Oh whithersoever they blow. Onward to glory I go!”

The multi-award winning “Man of La Mancha,” which was adapted from Wasserman’s non-musical 1959 teleplay, “I, Don Quixote” was inspired by Miguel de Cervantes’ seventeenth century “Don Quixote,” is now on stage at the Stratford Festival. 

It tells the tale of a “mad” knight, Don Quixote, a creative writer and poet, who in a play within a play, tells the tale of Miguel de Cervantes, failed author/soldier/tax collector and Sancho, his manservant, waiting for their hearing before a tribunal set up during the Spanish inquisition to try “criminals” for crimes supposedly committed against the church.  As the tale unfolds, his fellow prisoners want to destroy a manuscript that tells the tale of Don Quixote, a dreamer/do-gooder.  Cervantes agrees to be put on trial to protect his manuscript.  He involves the prisoners in the tale telling.

With the aid of a makeup kit and items contained in a trunk, he is transformed into Don Quixote, a man who believes himself to be a chivalrous knight, who fights dragons (a windmill), sees a castle (a rundown roadside inn), regards a prostitute to be a virginal saint of purity, and fights battles to correct wrongs.  As he finishes his tale, he is taken out of the dungeon to face his real accusers.

The score is glorious and includes the humorous “I’m Only Thinking of Him” and “I Like Him,” the poignant “Dulcinea,” the probing “What Does He Want of Me?,” the compelling “Knight of the Mirrors, and the inspiring “The Impossible Dream,” one of the greatest songs ever written for the American musical stage.

The original Broadway production opened in 1965, ran 2,328 performances and won five Tony Awards, including Best Musical. Richard Kiley won a Tony for his performance of Cervantes/Quixote.  Clevelander Joan Diener won accolades as Aldonza.

The script has been revived four times on Broadway and has had numerous local theatre productions.

The Stratford production, under the razor sharp direction of Robert McQueen is excellent.  The multi-leveled set design, with the over-arching large windmill, the center focus of Quixote’s quest, helps create the right mood for the fantasy.  The well-played music supports rather than over-powers the singers.   The sound system allows for a clear understanding of the spoken and sung dialogue.

Tom Rooney is superb as Cervantes/Quixote/Quijana.  His singing voice is strong.  He creates clear images with the lyrics by singing ideas, not just words.  His acting creates a believable image of a man possessed by desire, leaving open the option of whether he is sane or a madman. 

Robin Hutton’s characterization of Aldonza clearly displays a woman whose life has been a living hell, highlighted by being a victim of rape, abandonment and abuse.  Her singing voice is excellent.   Her interpretation of “What Does He Want of Me?” is heart wrenching.

Steve Ross plays the role of Sancho as a quiet follower, rather than a delightful bumbler.  Though acceptable, he misses out some of the humor that Wasserman inserted to lightened the script’s intensity.

Though a little too clean cut looking to be treacherous criminals, the chorus universally develops clear characterizations.

Capsule judgement:  Stratford’s “Man of La Mancha” is an exceptionally well-conceived and performed production of one of the American musical theatre’s great scripts.  Short of having seen the original Broadway production (which was breathtakingly effective), a viewing of this staging is a wonderful second place and makes for an unforgettable theatrical experience!  Applause, applause, applause! 

For individual tickets call 800-567-1600 or go on-line to http://www.stratfordfestival.ca.

Impressive "King John" reigns at Stratford

King John, who reigned as the monarch of England from 1199-1216, was the son of Henry II and Eleanor of Aquitaine, and the father of Henry III.   The Shakespearean script concerning his reign is one of the true history plays by the Bard and is one of only two of his plays, the other being “Richard II,” that are written entirely in script. 

“King John” is one of the Bard’s cannon that does not get produced very often.  Maybe it’s because there is no horror in the play, or not as much as in many Shakespearean works  John also is not quite as dramatically psychotic as Lady Macbeth, Othello, or King Lear.  He is not the type of character who issues a long Hamlet-like soliloquy to ponder power, relationships and angst.  He is not love driven as Romeo.  He is not as delightful as the characters in “Midsummer Nights Dream” or “The Taming of the Shrew.”

Shakespeare’s John is “simple, not given to reflection, and doesn’t agonize over decisions.”  He “comes across as ambitious, arrogant, and lacking in foresight.” 

This is basically a history recounting play that, in a good production, grabs and holds attention with good writing and an interesting, but not spectacular tale.  Stratford’s staging does exactly that!

John was the youngest of five brothers.  According to the law of succession, he was not in line to gain the throne, but he outlived all of his brothers, including Richard the Lionhearted. He was considered a weak king because of his willingness to give concessions to King Phillip II of France and compromised in other ways, as well as his lack of personal magnetism, but reigned for seventeen years.  Writing a play about him does not allow for the blood and guts and hysteria afforded other Shakespeare monarchs. 

John is most remembered for his conflict with the Pope, brought about because he would not faithfully follow the orders of Cardinal Pandulph, the Pope’s legate and his signing of the Magna Carta.  The former is dealt with in the script, the latter is not.  

At the end of the play, in saying his final goodbyes to his son and the few noblemen still loyal to him, King John sums up his essence when he states,  “I am  scribbled form, drawn with a pen/Upon a parchment.”

The play’s plot develops as a messenger from France arrives in the English court, demanding that King John abdicate his throne in favor of his nephew, Arthur. The messenger speaks for King Philip of France, who supports Arthur's claim as the rightful heir to the throne.  When John refuses to step down, France threatens war.

Through many twists and turns, the plot weaves a tale.  There are attacks on the English-held town of Angers.  There is a confrontation with Pandolf, an ambassador from the Pope who excommunicates John when the King refuses to accept the Pope’s posting of an archbishop.  There are attempts to overthrow John.  There is the tale of Arthur, the heir apparent who is supposedly killed by one of the King’s nobles, but, in fact, the boy is released, only to die when he falls or get pushed off a bridge.  John and Pandolf resolve their differences, only to have John poisoned by a monk at a monastery, where he had been awaiting reports from the battlefield.  John dies. The lords swear allegiance to John’s son, Prince Henry.  Blackout.

The play is long, but the Stratford production, under the direction of Tim Carroll,  is well staged, well paced, and intriguing.  The costumes, staging, impressionistic sets and clear language interpretation all add up to a fine experience.  The stage, which is a runway thrust, allows for a close relationship between the audience and the cast.  This is the type of script which gains from such a relationship. 

Tom McCamus develops King John as a realistic person.  He underplays rather than ranting, thus living rather than acting the role.  Graham Abbey nicely creates Philip, The Bastard, as a multi-dimensional character.  Brian Tree is properly uptight as Cardinal Pandulph.   Seana McKenna as Constance, mother of Arthur, and Patricia Collins as Queen Eleanor, mother to King John, both are regally correct.

Capsule judgement:   Stratford’s “King John” is an impressive and compelling production.  This is not one of Shakespeare’s blood and guts plays but grabs and holds the audience with language rather than action.  Since the script is not often done, this is an excellent opportunity to gain exposure by seeing a fine performance.

For individual tickets call 800-567-1600 or go on-line to http://www.stratfordfestival.ca.

Stratford Festival, a season of being pushed to the edge

The  Stratford Festival of Canada, whose present artistic director is Antoni Cimolino, started on July 13, 1953, when Sir Alec Guiness walked onto a stage located in a large tent and spoke the first lines of what has become the internationally-recognized celebration of theatre.  Now housed in five theatres, offering plays and other entertainment from late April to November, Stratford is the largest repertoire theatre in North America. The offerings are not only the writings of Shakespeare, but a variety of classical and contemporary works, including musicals.

Having just returned from the Festival, I offer these capsule judgments of some of the shows on this year’s theatre’s schedule:

“Man of La Mancha”-- “Man of La Mancha” is an exceptionally well-conceived and performed production of one of the American musical theatre’s great scripts.  Short of having seen the original Broadway production (which was breathtakingly effective), a viewing of this staging is a wonderful second place and makes for an unforgettable theatrical experience!  Applause, applause, applause!

“Crazy For You”-- “Crazy For You” is a total delight.  Anyone who loves the fun and ridiculousness of an old time musical, complete with a marvelous George and Ira Gershwin score, will have a wonderful time attending this Stratford production.

“King John”-- “King John” is an impressive and compelling staging.  This is not one of Shakespeare’s blood and guts plays but grabs and holds the audience with language rather than action.  Since the script is not often done, this is an excellent opportunity to gain exposure by seeing a fine performance.
“King Lear”-- “King Lear” is a must see production.  Every aspect of the staging works.  This is a presentation that teaches the audience what superb theatre is all about.

“A Midsummer Night’s Dream”-- “A Midsummer Night’s Dream” is one of Shakespeare’s most delightful comedies.  Though the comic qualities were high, the Stratford production was filled with needless gimmicks and additions which added nothing to enhancing the basic script.  As evidenced by our B&B table discussion, audiences are going to either love or hate this production.   

For complete reviews of these shows go to:  http://www.royberko.info

Other shows on the Stratford schedule which I did not attend are:

“The Beux’ Stratagem” by George Farquhar
“Alice Through the Looking-Glass” by Lewis Carroll, adapted for the stage by     James Reaney
“Hay Fever’ by Noel Coward
“Mother Courage and Her Children” by Bertolt Brecht
“Anthony and Cleopatra” by William Shakespeare
“Christinea, The Girl King,” Michael Marc Bouchard
(For details about these scripts go to:  stratfordfestival.ca

What’s the lodging like?  Hotels, motels and bed and breakfasts abound to fit any wallet.  I like  to stay at bed and breakfasts where you get to meet new people and share views on the productions and life in general.  My favorite is the well placed Avery House (http://www.averyhouse.com), which is under the wonderful management  of John and Amanda who create breakfasts to satisfy the desires of the pickiest eater and present a variety of immaculate rooms to fit every taste. They also own Avery House Next Door, which offers lodging but no meals.

Hungry?  For moderate cost and high quality, try the excellent Stratford Thai Cuisine (82 Wellington Street).  My favorite is Rene’s (20 Wellington Street), a medium priced restaurant where the chef-owner holds sway in the kitchen and Margaret greets you at the door.  Based on a bad experience during our recent visit, in the future I will avoid The Keystone Alley Cafe.  I was served a raw chicken breast.  A request to the seemingly inexperienced waitress to tell the chef, received little attention.  No owner, manager or the chef appeared to respond to the serving of potentially dangerously prepared food.

Shopping?  The Touchmark Shop, 137 Ontario Street in downtown Stratford, is my wife’s favorite store.  Canadian fashions.  Canadian-nice salespeople! 

Stratford Escapes (theatrevacations.com), is an efficient way to make reservations.  For individual tickets call 800-567-1600 or go on-line to http://www.stratfordfestival.ca.

BTW…Stratford’s printed programs contain excellent clarifying messages about the playwright or the play itself.  It’s worth getting to the theatre early to read the material. 

Helpful hint: The ride from Cleveland is about six hours through Buffalo.  To satisfy border requirements carry your passport.  Nothing else will do.

Go to Stratford!  Find out what lovely hosts Canadians are, and see some great theatre!

Roy Berko is a member of The American Critics Association, Cleveland Critics Circle and Dance Critics Association. He is a college professor and author of thirty-one books. His reviews and commentaries can be found on ArtsAmerica.org, BroadwayWorld.com, NEohioPAL, “The News Herald” and “The Morning Journal,” CoolCleveland.com and on his popular blog, http://RoyBerko.info. He was selected top Editor/Reviewer in the Midwest for 2013 by BroadwayWorld.com.

Stratford Festival (Canada) presents a season for Madness

The 2014 Stratford Festival’s theme is “Madness:  Minds Pushed to the Edge,” and includes more than 150 debates, concerts, workshops, and, of course, theater, theater, and more theatre.  The play offerings examine the madness of love, family, power, war, desire and money!

Though the snow and cold weather are still swirling, in some cases due to the frigid Canadian weather which they graciously share with Americans, those people up north, also, when spring and summer come, offer wonderful accommodations, good food, unusual shopping, and theatre, theatre and more theater, in Stratford, Ontario, Canada.

This season’s 12 productions in the Festival’s four theatres are:
 
KING LEAR (May 5-October 10)—In this Shakespeare classic, an aging monarch resolves to divide his kingdom between this three daughter, with consequence he little expects.  In the process he discovers the essence of his own humanity.

CRAZY FOR YOU (April 21-October 12)--The George and Ira Gershwin musical that gave the world such songs as, “I Got Rhythm,” “Nice Work if You Can Get It,” and “Someone to Watch Over Me.”

A MIDSUMMER NIGHTS DREAM (May 16-October 11)—Shakespeare’s comedy about Hermia, who elopes with her lover Lysander, and is pursued by a rival suitor , Demetrius, and jos  spurned admirer, Helena.  It’s a tale of love’s giddiest lunacy.

THE BEAUX STATAGEM (JULY 31-OCTOBER 11)—George Farquhar’s tale of larcenous lovers who realize that their hearts might be susceptible to ensnarement. 

MAN OF LAMANCHA (May 8-October 11)—“Dream the Impossible Dream” as you are taken on the mythical journey of Don Quixote in a mythical reenactment of the Miguel de Cervantes enduring and endearing tale.

ALICE THROUGH THE LOOKING-GLASS (April 30-October 12)—Climb through the living-room mirror with Alice as she enters a world of wonders populated by “fantastical” characters and dreams of the mind.

HAY FEVER (May 28-October 11)—Noël Coward’s  witty tale of a stage star, novelist husband and two grown children who have each invited guests for the weekend which results in flirtations and histrionics.  Will they survive the weekend with their sanity intact?

KING JOHN (May 21-September 20)—Yes, Shakespeare’s mad world of mad kings highlights the inevitable war, excommunications, attempted atrocities, rebellion and assassination that results when the King of France demands that King John of England relinquish his crown.

MOTHER COURAGE AND HER CHILDREN (May 15-September 21)—Bertolt Brecht’s compelling tale of what happens when Mother Courage, who sells provisions to both Protestant and Catholic combatants during the Thirty Years’ War, discovers that the very chaos that sustains her will eventually cost her everything she holds most dear.

ANTONY AND CLEOPATRA (August 3-September 20)—Reason and judgement prove no match for the tsunami of mutual passion engulfing Mark Antony and Cleopatra in Shakespeare’s tale of the love that shook the very foundation of the world.

CHRISTINA, THE GIRL KING (July 29-September 21)—Michel Marc Bouchard’s tale of Queen Christina who seeks to make her country the most sophisticated in Europe, but her goals put her at odds with her culture’s expectations of her, both as a monarch and as a woman.

 MIDSUMMER NIGHT’S DREAM, a chamber play (July 11-September 20)—Two couples become gods, animals, demons, monsters, children, playing things in Shakespeare’s classic masterpiece about our multiple selves and conflicted identities.

What’s the lodging like?  Hotels, motels and bed and breakfasts abound to fit any wallet.  I like a b & b.  You get to meet new people and there is a nice friendly feel of being more than a guest.   My favorite is the Avery House (http://www.averyhouse.com).

Hungry?  For moderate cost and high quality, try The Annex Cafe (38 Albert Street) and the Stratford Thai Cuisine (82 Wellington Street).

Theater and housing packages can be arranged by www.theatrevacations.com.   Stratford Escapes (theatrevacations.com), is an efficient way to make reservations.  For individual tickets call 800-567-1600 or go on-line to http://www.stratfordfestival.ca.

Helpful hints: The ride from Cleveland is about six hours through Buffalo.  Go on-line to the festival for directions.  The routings offered by AAA and Yahoo maps are confusing and miles longer.  To satisfy border requirements carry your passport.  Nothing else will do.

Go to Stratford, Canada!  Find out what lovely hosts Canadians are, and see some great theatre!

Brilliant TOMMY rocks the Festival

The Who, which was inducted into Cleveland’s Rock and Roll Hall of Fame in 1990, is noted as one of the holy trinity of British Rock.  They, along with The Beatles and The Rolling Stones, are credited with making rock a legitimate musical movement.

Founded in the 60s, the group had 27 top singles in the UK and US, 17 top ten albums and were gold, platinum and multi-platinum award winners. 

Besides the group’s fame as performers, Pete Townshend, the guitarist and songwriter for the group, is responsible for developing the book, music and lyrics for TOMMY, a 1969 double album rock opera.  He was joined in developing the book by Des McAnuff.

The album was transformed into a stage play which opened on Broadway in 1993 and ran a very creditable 899 performances.  A remarkable staging of TOMMY is now on stage at The Stratford Festival.

TOMMY tells the tale of a young boy who loses his sight, hearing and speech after witnessing a murder, being raped, and bullied. 

The story starts in 1940 when Tommy’s father and mother meet in London, fall in love, and get married.  Captain Walker goes off to war, and is shot down over Germany.  He is captured and imprisoned.  Thinking her husband is dead, Mrs. Walker, a new mother, moves on with her life.  In 1945 the Captain is freed, and returns home to find his wife with a new lover. A fight ensues between the two men.  Four-year old Tommy, trying to avoid seeing the battle, turns to a mirror to avoid witnessing his father shoot his mother’s boyfriend.  The mirror symbolically absorbs and stymies his emotional growth.

Traumatized Tommy is then molested by his Uncle Ernie and his problems are further developed when his cousin Kevin, a sadist, bullies and abuses the boy.   Kevin, as a lark, takes Tommy to a youth club where blind Tommy astounds everyone by displaying pinball wizardry, becomes known as The Pinball Wizard, and through the attention and self-awareness he miraculously gains back all his senses, but he is still fragmented, unable to emotionally cope.

His recovery makes him into a “semi-god,” with a cult of followers.  He eventually becomes disenchanted with his fame and returns to his family, ultimately smashing the mirror, and becoming whole again as his 4-year-old, 10-year-old and adult-self meld together.

The musical’s score is outstanding.  Highlight selections include “See Me, Feel Me,” “Sensation,” “Pinball Wizard,” “Go to the Mirror,” “I’m Free,” and “Listening to You.”

Stratford’s production, under the creative direction of Des McAnuff, is, as one of the song titles states, an “Amazing Journey.”  The cast, choreography, and musical accompaniment are astounding.  It’s impossible to watch this show passively.  Every aspect grabs and holds the attention.  Even those who may not like rock music, should find this to their liking as the sound doesn’t drown out the singing, but underscores it.

The production creatively illustrates how the newer technologies can be used to enhance the visual aspects of staging.  The videos and images took this show to a new and exciting dimension.

Robert Markus, as the older Tommy, has a strong singing voice, which he uses to create the right images by singing meanings, not just words.  He is totally believable in both the blind and seeing scenes.   He is ably supported by a strong cast which has high level dancing and singing skills. 

Outstanding are Paul Nolan as the smarmy Cousin Kevin, Jeremy Kushnier as Captain Walker, understudy Robin Hutton as Mrs. Walker, and Steve Ross as Uncle Ernie.  Conor Bergauer and Arden Couturier, as the younger Tommys, displayed strong stage presence and were convincing in their characterizations.

Capsule judgement:  Stratford’s production of The Who’s TOMMY is outstanding.  The music, staging and performances command the audience to watch and wraps them in a theatrical experience that they will long remember, creating an “Amazing Journey.”  Wow!

TOMMY runs through October 19, 2013 at the Stratford Festival.  Tickets are limited due to strong demand.  For information call or go to: 800-567-1600 or go on-line to http://www.stratfordfestival.ca

MEASURE FOR MEASURE…politics, power, and humor

Though Shakespeare, himself, classified his 1604 MEASURE FOR MEASURE as a comedy, modern literary thinkers refer to it as a problem play, a term developed in the late 1800s.

In problem plays, a social issue is examined comically, but contains tragic overtones.  The endings often seem contrived since they solve troubling issues in a superficial way, with no clear dénouement.  This format is well illustrated in MEASURE FOR MEASURE.

MEASURE FOR MEASURE deals with such issues as mercy, justice and their relationship to pride and humility.  The concept is highlighted by the script’s line, “Some rise by sin, and some by virtue fall.”

The play starts with Vincentio, the Duke of Vienna, relating that he is going to leave the city on a diplomatic mission.  He, in fact, is not going to leave, but wants to observe the goings on in the city which has been turned over to the very righteous Judge Angelo, a pontificator of strict morals. 

It doesn’t take long for Angelo to assert his power.  He has Claudio, a young nobleman and Juliet, his pregnant wife-to-be, arrested for having premarital sex, which is against the law.  He declares that Claudio is to be put to death.  When Lucio, goes to Isabella, Claudio’s sister, who is a novice nun, with a plea for her to intercede with Angleo on behalf of her brother, the major issues of the play unfold.  

It soon becomes clear that Angelo harbors lustful thoughts for Isabella and makes a proposal that her brother’s life will be saved if she agrees to a liaison with him.  The virginal Isabella refuses.
Meanwhile, the Duke, disguised as a friar, is observing.  He befriends Isabella and arranges to thwart Angelo’s evil intentions.  A “bed trick” is arranged in which Angelo will have sex with Isabella, but it will be in a dark room in which Mariana, to whom Angelo was previously engaged, but who was jilted by him when her dowry was lost at sea, will substitute for the nun. 

After getting his way, Angelo refuses to free Claudio, and demands that the boy be executed and his head be sent to him.  A Shakespearean plot device, know as the “head trick,”  ensues.  The head of a man who died of natural causes in prison is sent to Angelo, thus providing evidence that Claudio is dead.

The play concludes when the Duke returns to take back his throne, Angelo’s deeds are exposed, he is sentenced to execution, but is allowed to live if he will marry Mariana.  The Duke proposes to Isabella.  (If Isabella accepts, based on Shakespeare’s writing format, this would make the play a comedy as all’s well that ends well, but the dialogue ends in silence.  We know not whether Isabella agrees to the marriage.  Thus the script is dubbed a “problem play.”)

The Stratford production is well conceived by director Martha Henry.  The action is nicely paced, the characters clearly etched, and the technical aspects aid in developing the plot.  The inserted farcical shticks work, adding a needed lightness to what could be an oppressive plot.  One might question why the director chose to change the date of the play to 1949.  The language and the concept are much more fitting to a past time.

Standout performances include Geraint Wyn Davies as Duke Vincentio, though, at times, his projection fell off.  Stephen Ouimette is delightful as Lucio, a manipulative liar and gossip.  Tom Rooney is evil incarnate as Angelo.  Carmen Grant is properly austere as Isabella.  The rest of large cast well develop their roles.

Capsule judgement:  Shakespeare’s MEASURE FOR MEASURE gets a solid production at the Stratford Festival.  Its message of mercy, justice and their relationship to pride and humility is clearly etched.  Those who like the Shakespearean style of writing and plot development should be pleased with this staging.

MEASURE FOR MEASURE runs through September 21, 2013 at the Stratford Festival. For information call or go to: 800-567-1600 or go on-line to http://www.stratfordfestival.ca

Thought-provoking, farce-infused WAITING FOR GODOT

Having endured the great depression, the rise of Fascism and Imperialism, the Holocaust, the dropping of the atomic bomb, and the physical destruction of much of Europe and Asia, following World War II the people of the earth were in psychological chaos.   Since the arts represent the era from which they come, it was only natural that new forms of theatre were developed to mirror the state the inhabitants.

The Theatre of the Absurd, a reflection of existentialism, which asks, “Why do we exist,?” is showcased in the works of Edward Albee and Samuel Becket.  Their plays look at creating meaning out of chaos.  Their works don’t give answers, they ask questions.  Albee used high level drama (think, WHO’S AFRAID OF VIRGINIA WOOLF), while Beckett, a lover of slapstick comedy (think the Marx Brothers, Charlie Chaplin and Buster Keaton), wrote in the farce format.  He looked at an existence of things that were not only out of kilter, but were ridiculous.

WAITING FOR GODOT, which was recently ranked as number 8 by Daniel Burt in his book, THE DRAMA 100:  A RANKING OF THE GREATEST PLAYS OF ALL TIME, is Beckett’s classic.

The play finds two unkempt men, shabbily dressed in a desolate setting…a white swash of land in the midst of space, a rock, a tree, and a suspended mechanical moon-like sphere.  They are waiting for Godot.  They wait, they talk, they wait, they sleep, they search for ideas, they forget, they meet two strangers, they wait, they are told by a young boy that they will have to continue to wait as Godot will come tomorrow, and then another tomorrow.  They leave and return to only wait some more.

A succinct early review of the play stated that this was a production in which nothing happens--twice.  Yes, not much seems to happen in the first act, and the same futility is present in the second act.   Nothing happens?  Not true.  While there is limited action, the audience is involved in a continuous game of mindful questions.

Who are these men?  Where are they?  Why are they waiting?  Who is Godot?  Why are they emotionally bound to each other?  Why, as one states, “Is nothing certain?”  Why is there such discomfort in silence?  Why do they even exist?  And, most importantly, how does this reflect and exemplify each of us and our lives?  What are we each waiting for? Is each of our lives a search for meaning and purpose?

The Stratford Festival’s GODOT has many strong high-points, but opens itself to questions.  Major among the issues is why did director Jennifer Taver conceive a production in which the first act is bland, while the second act explodes with farce and meaningful action?  Did she create a play which develops Beckett’s intents and purposes? 

On the positive side, The show is well paced, the shticks and gimmicks that are inserted work, and the characterizations generally effective.

Stephen Ouimette is excellent as Estragon.  He nicely textures his lines, well develops the farcical aspects, while maintaining a realness in his characterization.  Tom Rooney is not as successful as Vladimir.  There are times when Rooney seems to divorce himself from the stage and feigns rather than lives the role, saying words rather than ideas with meaning.  

Brian Dennehy effectively underplays Pozza in the first act, while adding a special texturing to the “blind” Pozza in the second act.  Randy Hughson creates a believably pathetic Lucky.  His extended monologue, when he breaks from his controlled shell and spews a Beckett-speak message of anguish, is compelling.

The set, lighting, and interlude music all add positively to the production.

Capsule judgement:  As illustrated by the curtain call to WAITING FOR GODOT, this is a love-it or hate-it experience.  While half of the sold-out audience was on its feet shouting, “Bravo,” the remainder were passively sitting in their seats, shaking their heads in confused wonder. 

WAITING FOR GODOT THE runs through September 20, 2013 at the Stratford Festival.  For information call or go to: 800-567-1600 or go on-line to http://www.stratfordfestival.ca

THE THREE MUSKETEERS--swashbuckling farcical intrigue at The Festival

 
The hallmarks of France’s most widely read author are sword fights, battles for the honor of beautiful women, court intrigue, sexual liaisons, and comradeship.  Yes, Alexandre Dumas, known for his high adventure serials, books and plays, is the king of farcical, melodramatic epics.  Among his works is THE COUNT OF MONTE CRISO, TWENTY YEARS AFTER and THE THREE MUSKETEERS.  The latter has been transformed into a stage play by Peter Raby and is being staged at The Stratford Festival of Canada.

Dumas’s recounting of debauchery seems to have had a sound personal knowledge base.  He is noted as having at least 40 affairs and fathered at least four legitimate and illegitimate children.  His writing of sword and political intrigue also comes from experience.  He participated in the revolution that ousted Chares X and replaced him on the throne with the Duke of Orléans.

There is some question as to whether Dumas was the sole author of THE THREE MUSKETEERS.  As was the custom during his era, writing with partners was in vogue.  The purported Musketeer co-author was August Maquet, who took Dumas to court to try and get authorial recognition and payment for his work.  He was successful in getting some money, but not a byline.

As the curtain rises, we are in the midst of a savage sword fight.  We soon learn that the combatants are D’Artagnan and his father.  The young man is about to go off in search of achieving his goal of becoming a Musketeer of the Guard and is honing his skills.

Through the course of sword fights, conflict, wine, women, and poetry, we find D’Artagnan and his three fellow musketeers, Athos, Porthos and Aramis, fighting for king, country and love.  We are exposed to devious Cardinal Richelieu and equally evil Milady de Winter who attempt assassinations, and incite plots and counterplots.  And, of course, in the end, virtue wins out over evil as the musketeers live by the motto, “All for one and one for all,” and defeat the “bad guys.” 

Those who want more of this fun need to read TWENTY YEARS AFTER, Dumas’s follow-up book.

The Stratford production, under the creative direction of John Tiggeloven, is delightful.  For anyone who loves the swashbuckling serials of old, likes big costume shows, and are lovers of farce, this is your thing!   The two and a half hour show time flies by.

The cast has a great time playing heroes, evil villains and rogues.  The sword fighting scenes are realistic and well choreographed.  The flexible set and quick changes of location make the production almost cinematic.  The extended farce is well timed.

Handsome Luke Humphrey is charming as D’Artagnan.  He transitions with ease from naïve boy, who wants to be a do-gooder, to an upstanding musketeer who attempts to save the world.  He adds a nice youthful air to the action. 

He is well assisted by his band of merry men, the three inseparables, Jonathan Goad (Porthos), Mike Shara (Aramis) and Graham Abbey (Athos).  

Steven Sutcliffe creates evil incarnate as Cardinal Richelieu (boo!), while Deborah Hay creates a MILADY DE WINTER (double boo!)  into a devious lady who no one should trust.

Antoine Yared adds humor as Planchet, D’Artagnan’s servant.  Bethany Jillard is charming as D’Artagnan’s love.  The rest of the cast is also excellent.

(Parents be aware that charged language is used and non-graphic sexual scenes take place.)

Capsule judgement:  Stratford’s THE THREE MUSKETEERS is a melodramatic delight filled with swashbuckling action, farcical interludes, and bigger than life characters.   It tells the triumphant tale of good winning out over evil.  The production should delight those who want to escape the real world and live out the fantasies of days gone by.

THE THREE MUSKETEERS runs through October 19, 2013 at the Stratford Festival.   For information call or go to: 800-567-1600 or go on-line to http://www.stratfordfestival.ca

MARY STUART reigns mightily at Stratford

It is no wonder that the Stratford Festival’s MARY STUART has been extended three times due to sold out houses.  This production, under the meticulous director, Antoni Cimolino, is as perfect as dramatic theatre can get.  The acting is superb, the pacing spot on, the emotional levels well honed, the visualizations clear.  In other words, this is theatre as it should be!

Peter Oswald’s new version of Friedrich Schiller’s MARY STUART centers on a fictional meeting between Mary, the deposed Queen of Scots and Elizabeth I, Queen of England.  The intrigue centers on who is the “real” queen, which extends into a mockery of justice, religious bigotry, jealousy and court intrigue.  Though the meeting never really took place, the queens were, indeed, bitter rivals and enemies.

From a historical perspective, Mary and Elizabeth share Tudor blood, are cousins, and rivals for the British throne.  Mary, a Catholic, was in fact, accused of plotting her husband’s murder, and unwisely fled to Protestant England.  Her real crime, however, was her desire to be Queen of England. Elizabeth’s continued reluctance to have Mary killed is centered on a realization that with the Scots many friends and allies, especially in France, a dead Mary might well be worse than an imprisoned Mary.  After a 19 years of imprisonment Mary is finally put to death for treason.

Mary and Elizabeth are quite different as people.  Mary got married and begat a son, a potential heir to the throne.  Elizabeth, often called the “virgin queen,” dedicated her life to her throne, putting aside her person life.

Schiller plays a little loose with history.  The script develops strong sympathy for Mary through the playwright’s altering some facts, creating people who were never part of the intrigue, and actions unsupported by any written record.  But this is historification theatre and not a treatise on historical fact.  These alterations help make for a play which may be more dramatic than the real tale.

Lucy Peacock takes on the cloak of Mary and becomes that martyred monarch.  This is a well-developed characterization with an eye on consistent emotional and physical fidelity.  It is performance at its finest.

Seana McKenna is Peacock’s equal, developing a flawless portrayal of Elizabeth.  She does not act Elizabeth, McKenna becomes Elizabeth.

The rest of the cast is superb.   Patricia Collins (Hanna Kennedy), Ian Lake, (Mortimer), Brian Dennehy (Earl of Shrewsbury), and Geraint Wyn Davies (Earl of Leicester), among others, create believable personages.

Beautiful costumes, an efficient set, well selected music, and effective lighting all add to the creation of a marvelous and compelling production.

Capsule judgement:  Stratford’s MARY STUART is classical theatre at its finest.  Seeing this production is an experience which no theatre-goer should miss out on!  Bravo to the director, cast and technical staff!

MARY QUEEN OF SCOTTS is in an extended run through October 11, 2013 at the Stratford Festival.  Tickets are limited due to strong demand.  For information call or go to: 800-567-1600 or go on-line to http://www.stratfordfestival.ca

Stratford Shakespeare Festival, a place of discovery and delight

Want to get away this spring, summer or fall?  Drive to Canada for great theatre, good food, and nice scenery.  This year marks the 61st anniversary of the Stratford Festival of Canada.

This season’s 12 productions in the Festival’s four theatres are:
ROMEO AND JULIET—Shakespeare’s tale of youthful passion which dares to challenge generations of enmity in the most famous love story ever told. (May 1-October 19)
FIDDLER ON THE ROOF—The poignant musical tale of family, faith and tradition, with such songs as ’If I Were a Rich Man” and “Sunrise, Sunset.”(April 23-October 20)
THE THREE MUSKETEERS--an adaptation of Alexandre Dumas’ epic swashbuckling novel of intrigue and adventure in 18th century France.  (May 18-October 19)
THE MERCHANT OF VENICE--Shakespeare’s controversial look at intolerance and the vengeance it provokes. (July 30-October 18)
TOMMY, The Who’s classic rock tale of a traumatized child who becomes a “Pinball Wizard.”  (May 4-October 19)
BLITHE SPIRIT—Noel Coward’s tale of ghosts, second marriages, séances, mischief and wit. (May 16-October 20)
OTHELLO—Shakespeare’s tragic tale of love, betrayal, vengeance and relationship destruction.  (August 4-October 19)
MEASURE FOR MEASURE—The Bard of Avon satirically takes on sex, the church and the state, while questioning the very nature of virtue. (May 18-Setpember 21)
MARY STUART—Even queens become pawns in the life-and-death power struggle driven by faith, fear, ambition and desire. (May 3-September 21)
WAITING FOR GODOT—Samuel Becket’s existential absurdist masterpiece that some consider the greatest play of the 20th century.
TAKING SHAKESPEARE—John Murrell’s celebration of the power of words, and the surprising power of the heart as an aging professor tutors the university president’s floundering son.  (July 13-September 22).
THE THRILL—A love story in which a successful lawyer and fiery activist takes on a right-to-die movement celebrity with consequences that neither has anticipated.  (July 28-September 22).

Besides their regularly scheduled plays, the Festival offers stage-side chats, the Celebrated Writers Series, Night Music, Table Talks, pre-show lectures, lobby talks, public lectures, the teaching Shakespeare School and The Teachers’ Conference.

What’s the lodging like?  Hotels, motels and bed and breakfasts abound to fit any wallet.  I like a b & b.  You get to meet new people and there is a nice friendly feel of being more than a guest.   My favorite is the Avery House (http://www.averyhouse.com).

Hungry?  For moderate cost and high quality, try The Annex Cafe (38 Albert Street) and the Stratford Thai Cuisine (82 Wellington Street).

Packages can be arranged by www.theatrevacations.com.   Stratford Escapes (theatrevacations.com), is an efficient way to make reservations.  For individual tickets call 800-567-1600 or go on-line to http://www.stratfordfestival.ca.

Helpful hints: The ride from Cleveland is about six hours through Buffalo.  Go on-line to the festival for directions.  The routings offered by AAA and Yahoo maps are confusing and miles longer.  To satisfy border requirements carry your passport.  Nothing else will do.

Go to Stratford, Canada!  Find out what lovely hosts Canadians are, and see some great theatre!

WANDERLUST—poetic, clever, magical

The musical CATS was a compilation of the poetry of T. S. Eliot. The material was very loosely held together with a thin plot line. The musical score was invented to fit the poetry. Though CATS is one of the longest running plays in Broadway history, many find it nothing but a musical review with gimmicks.

In WANDERLUST, Morris Panych (book) and Marek Norman (music) accomplished something that Andrew Lloyd Weber didn’t do in CATS. The duo blended the poetry of Robert Service into a seamless story line, much like the music of ABBA entwined in MAMMA MIA!

WANDERLUST, a Festival commissioned musical play, is in its world premiere at the Tom Patterson Theatre.

Not familiar with the folksy poem stories of Service? His name is not as well known as Eliot, or Robert Frost, or e. e. Cummings, but his poetry may well be. A review of some of WANDERLUST’s song titles may awaken the awareness: The Men That Don’t Fit In, The Ordinary Man, The Land Beyond, and Unforgotten. Still not aware of the author? Let’s try, The Shooting of Dan McGrew and The Cremation of Sam McGee. Oh, yes, that’s Robert Service.

Set in Victoria, British Columbia, at the beginning of the 20th century, WANDERLUST imagines a story based on the life of Service, who was referred to as the “Bard of the Yukon.” We follow as a bank clerk dreams about romance and escape, to a life of adventure in the gold rush of the Great Canadian North. But his lady love is engaged to another man, his plans are more poetic illusion than actuality, and his dreams are unfulfilled. He is a dreamer whose inner most thoughts and desires are that of a poet, not a realist.

The script is filled with clever lines, much humor, and creative illusions. While not a bioplay, it shows Service, himself, as eccentric, a shaper of illusions and stories, and an envisioner of places he had never visited. He fills the head of the listener with wonder and imagery.

The production, under the astute direction of Morris Panych, like Service’s poetry, is filled with creative illusions. Bank clerks become sled dogs, ledgers become swinging bar doors, and space becomes snow storms. The action is well paced, the humor finely keyed, the characterizations clearly etched.

Tom Rooney is compelling as Service. He is so believable that Rooney becomes Service. He does not portray Service, he is Service. Randy Hughson is delightful as the owner of the bank. Ken James Stewart makes for the perfect foil as Noah, the young bank employee who is the brunt of jokes and dismissal. Robin Hutton is convincing as the conniving Louise, Service’s infatuation. Dan Chameroy is believable as Louise’s nasty fiancée and Lucy Peacock is wonderful as Mrs. Munsch, Service’s landlady. Her drunken “a world of men” speech is a production highlights.

The staging of The Shooting of Dan McGrew and The Cremation of Sam McGee are mesmerizing and enjoyable.

Diana Coatsworth’s choreography, Marek Norman’s musical direction, Ken MacDonald’s creative sets, and Alan Brodie’s lighting effects, all add greatly to the joy of the production.

Capsule judgement: WANDERLUST, receiving its world premiere in the Tom Patterson Theatre at the Stratford Shakespeare Festival, is a totally enjoyable experience. It is a creative production that examines the poetry of a dreamer with humor and music.

The Best Brothers

THE BEST BROTHERS probes sibling rivalry and self-understand

It is generally assumed that when a playwright scribes a play it is done with a purpose in mind. That objective can range from entertaining to horrifying, from philosophical to escapistic.

In Daniel MacIvor’s THE BEST BROTHERS, which is now getting its world premiere at the Stratford Shakespeare Festival, there are numerous themes, but the play’s overriding purpose is hard to pinpoint. Yes, there is such a thing as sibling rivalry, parents do have favorites, there is loneliness in life, serendipity instances occur, and we see things through our own perceptual filter. But, in the end, what does MacIvor want us to take from his play?

In an interview MacIvor stated, “I don’t like to talk too much about what a play means; the play knows more than I do….it just needs to be uncovered.” How is the audience expected to uncover that which the playwright has not clearly set forth?

The script relates the tale of Ardith “Bunny” Best who, while watching the annual Gay Rights parade, was killed when a 300-pound drag queen fell off a float and killed her. Her “bereaved” sons are Hamilton, a heterosexual uptight architect, and Kyle, a gay, troubled, free spirit, real estate salesman. Each brother struggles to understand his mother, himself and his sibling. Each of their personal lonelinesses, decisions made, and paths taken, play out as the duo deals with the death, planning of the funeral, the eulogies to be given, and the division of spoils, including disposing of their mother’s dog.

The script is both compelling and confounding. The characters are clearly etched. Humor abounds in the planning for the funeral, the eulogy and the post funeral scenes.

The reasoning for some references are not as clear. What is the significance of the death by a 300-pound drag queen? How can a small dog destroy a $250,000 kitchen? Why are these factors stressed over and over?

The production, under the direction of John Tiggeloven, is excellent. The characterizations are nicely etched. Both John Beal as Kyle and Daniel MacIvor as Hamilton clearly inhabit their roles. The scene changes are effectively done. The set works well. The incidental music aids in mood development.

Capsule judgement: Your reaction to THE BEST BROTHERS will be based on whether you accept the production on its face value and enjoy what is on stage, or you think about what has transpired and need a clear purpose and path to that outcome.

BTW…Stratford’s programs usually contain excellent clarifying messages about the playwright and the play itself. It’s worth getting to the theatre early to read the materials. This, however, is not the case with THE BEST BROTHERS program. Vicki Stroich, the Artistic Associate of the Festival of Arts Theatre Projects, contributes a self-indulgent piece about her awe of Daniel MacIvor. It adds little in helping the reader understand either MacIvor or the play.

The Pirates of Pinzance

Schizophrenic PIRATES OF PENZANCE partly pleases at Avon Theatre

THE PIRATES OF PENZANCE, subtitled THE SLAVE OF DUTY, is a two-act comic operetta by Arthur Sullivan and W. S. Gilbert. It was the only one of the duos’ shows that premiered in the US.

For many years, Gilbert and Sullivan scripts were presented in the United States in pirated versions, in which the writing team received no royalties as there was no copyright protection to foreigners. Over one-hundred American acting companies produced H.M.S. PINAFORE, for which the duo received no compensation. Staging the show’s opening the show 1879 in New York protected against copyright piracy.

The slight plot concerns young Frederic, who, since he has supposedly reached his 21st year, is released from an apprenticeship to a band of tender-hearted pirates. In a series of misadventures he meets Mabel, one of the daughters of Major-General Stanley. They fall in love, but are thwarted in their romance when it is discovered that since he was born on February 29, a leap year, he is only 4 years old, not 21. He therefore, must continue his apprenticeship and can’t be with his love. Battles between the keystone cops like police, the ineffective pirates, and the Major-General’s daughters ensue. Of course, as happens in all these silly escapist plots, all is happily resolved.

The show contains some wonderful music including, Poor Wandering One, Sighing Softly to the River, Away, Away! My Heart’s on Fire, and Yes, I’ll Be Brave.

The first act is a total delight. Ethan McSweeney’s directing is spot on. The pacing is brisk, the farce nicely highlighted, the characterizations clear. Marco Santana’s choreography is enjoyable. Franklin Brasz has the orchestra enthusiastically creating the correct musical images.

For some reason, after the intermission, the air seemed to leak out of the soaring balloon. It’s like someone decided that the audience was having way too much fun, and yelled, “Slow down, lose the energy, lose the creativity.” What a shame. I wish they had called it quits after the first act while they were ahead, had the required wedding, and let the audience go home happy.

With one exception, the cast is excellent. Youthful, handsome and endearing Kyle Blaire sings, dances, and acts his way smoothly through the role of Frederick, the indentured apprentice. Sean Arbuckle, makes for a fine tender-hearted Thomas, the Pirate King. Amy Wallis is adorable and sings the role of Mabel with great appeal. Gabrielle Jones is delightful as Ruth, Frederic’s love-struck nursemaid. Only C. David Johnson, as the Major-General disappoints. His pronunciation and diction made the lyrics to the script’s musical highlight, the much parodied I Am A Model of a Modern Major-General, almost unintelligible. Thankfully, the chorus made the echo of the words clear, saving the song.

Capsule judgement: The first act of PIRATES was a total delight. Consider leaving at intermission and assume that the rest is going to live up to the wonderful first stanza. As is, the show is a generally enjoyable experience, but it could have been completely wonderful.

Hirsch

HIRSCH, a compelling study of a man in torment

John Hirsch, was Jewish, gay, Hungarian, Holocaust survivor. Born in 1930, he was a man tormented by having seen his entire family killed while he was a teen, experienced sexually molestation, and, after the war, being a man without country.

It was by sheer serendipity that he wound up being accepted into the country known as “True North Strong and Free.” He was among 1000 refuge children who was brought to Canada as an act of good faith. He settled Winnipeg because he thought it was centrally located and would that would make it safe from potential invasions.

Hirsch, as becomes vividly obvious in Alon Nashman and Paul Thompson’s name sake play HIRSCH, which is getting its world premiere in the Stratford’s Studio Theatre, was a brilliant director and organizer. He was also abrasive, vindictive and tyrannical. To get his desired level of excellence, he would berate actors, stare down Board members, and speak without considering consequences.

Hirsch’s mother once said, “Life is a roller coaster.” Much to the parallel of that phrase, the man’s life had many highs and lows.

He founded the famous Manitoba Theatre Centre. Later in life he worked for CBC-television. In both of those environments he was successful, but continued to conflict with his contemporaries due to his artistic temperament.

For five seasons Hirsch was the Artistic Director of the Stratford Festival. He took over at a time when the very existence of the Festival was in doubt. Financial and personnel problems were the highlights of the theatre. Gossip and infighting held sway. Hirsch, though very unpopular, changed all that. In spite of his saving the institution, he was eventually forced to resign.

Hirsch’s, who is recognized as one of the most important figures of Canadian theatre history, succumbed to AIDS in 1989.

Nashman and Thompson’s script is both fascinating and frustrating. By the end of the play we think we know Hirsch well. At least as well as the author’s want us to know him. The crafting style of the show, in which time shifts back and forth, can become confusing. The fact that there is only one actor on stage, who is portraying multiple roles, makes for some bewilderment. Some of the transitional bridges are not clear. In spite of these script flaws, the overall effect is enveloping.

Nashman, is not only one of the co-author, but portrays Hirsch. He does not act as Hirsch, he becomes Hirsch, is Hirsch. Nashman explodes with rage, shows inward struggles, displays signs of depression and self-pity. He is a canvas of driven desires, much success, yet, little joy. He speaks English and Yiddish with ease and intensity. The portrayal is impressive.

As the program says, “John Hirsch was many things—a great artist, a passionate patriot, a self-absorbed drama queen and a visionary in many ways--but without doubt, he was a very special soul.” A viewing of HIRSCH will clearly confirm that image.

CAPSULE JUDGEMENT: HIRSCH is an impressive story and staging which should be seen at The Festival, as it is the only physical venue where setting and person will clearly merge.

42nd STREET

Delightful 42nd STREET lights up the Festival Theater stage

Michael Stewart, Mark Bramble, Al Dubin and Harry Warren’s 42ND STREET harkens back to the days of the Ziegfeld Follies and the review shows of the 1930s. It is not, as many people think, a show that was actually produced in that era. The script came to life on Broadway in 1980 in a production directed by Gower Champion, which went on to win the Tony Award for Best Musical. That production ran almost 3500 performances.

The Broadway opening night excitement was dimmed when the show’s producer, David Merrick, following the curtain call and a lengthy standing ovation, went on stage to announce that “It is tragic…Gower Champion died this afternoon.”

The pop hit tuneful score includes such memorable songs as Young and Healthy, You’re Getting to Be A Habit With Me, We’re in the Money, About A Quarter to Nine, Shuffle Off to Buffalo, and the title song, 42nd Street. This is the kind of script which encourages almost every song to be a production number, with Lullaby of Broadway, the showstopper of showstoppers.

From the very first scene, when a line of dancing feet appears below a partially raised curtain, it is obvious this is going to be a fun, often raucous show, filled with faced paced singing and dynamic dancing. Yes, dancing of every variety. There’s waltz, slow dance, contemporary movements, but mostly tapping, tapping and more tapping. This is a choreographer’s dream and Stratford’s Alex Sanchez does a smashing job of recreating much of Gower Champion’s enveloping movements.

Conductor Michael Barber helps the cause by keeping his fine orchestra in the right pace and sounds.

The paper thin plot, which is based on a novel by Bradford Ropes, which had been converted into a 1933 film, is the tale of how a Broadway extravaganza was created during depression days by legendary dictatorial director, Julian Marsh. The plot is enhanced by the legend of a chorus girl becoming a star as she steps into the leading role at the last minute. (There is much of the feel of last season’s TV show, SMASH.)

In reality, the story is only there to hold together the great songs, the wonderful dancing, the lush costumes and the creative staging.

The Stratford production is well directed by Gary Griffin. The show is nicely paced, gets the request of laughs, sticks to the needed 1930 stylizations, and is a delight. Even the set changes are creative.

The cast is universally excellent. Handsome Kyle Blair sings and shines as Billy, the boy ingénue. Adorable Jennifer Rider-Shaw sparkles as Peggy Sawyer, the small town show business newbie who steps out of the chorus to become a star. Sean Arbuckle gives the right nasty but nice quality to Julian Marsh.

The chorus, “the kids of PRETTY LADY” (the show within the show), astound with their high quality dancing and singing.

Capsule judgement: Stratford’s 42nd STREET is a total delight. Anyone who loves great dancing, fine singing, and creative staging should be enchanted by this production.

2012 Stratford Shakespeare Festival

Stratford Shakespeare Festival, a season for Celebration

This year marks the 60th anniversary of the Stratford Festival of Canada. Want to get away this spring, summer or fall? Drive to Canada for great theatre, good food, and nice scenery.

This season’s productions are:
•MUCH ADO ABOUT NOTHING (A Shakespeare romp of deception which finds Claudio wooing his beloved Hero, and his friend Benedick and Hero’s cousin, Beatrice, trading insults in their merry war of mutual disdain.)
•THE MATCHMAKER (Thornton Wilder’s play finds matchmaker, Dolly Levi, making her own plans to hook wealthy merchant Horace Vandergelder. It’s HELLO DOLLY without music.)
•42TH STREET (Warren and Dubin’s toe-tapping musical about how a chorus girl becomes a star.)
•HENRY V (Shakespeare’s story of civil strife in which the new British monarch decides to enforce his claim to the throne of France.)
•THE PIRATES OF PENZANCE (Gilbert and Sullivan’s operatic romp about soft-hearted pirates.)
•YOU’RE A GOOD MAN CHARLIE BROWN (Clark Gesner’s delightful musical takes on the Peanuts comic strip characters.)
•A WORD OR TWO (Christopher Plummer’s one-man show which takes the audience on an autobiographical journey through the literature that stirs his imagination.)
•CYMBELINE (Shakespeare’s adventure which finds Imogen, the daughter of King Cymbeline, trying to win back the man she loves.);
• WANDERLUST (Panych and Norman’s musical about Robert Service and his dreams to escape to a new life in the Great North.)
•ELEKTRA (Sophocles’ tale of Electktra’s attempt to avenge her father’s death.)
• MACHOMER (One of Shakespeare’s most popular tragedies meets one of TV’s most popular families in this comic tour-de-force.)
•HIRSCH (A one-person production staring John Hirsch as a Hungarian Holocaust survivor who finds refuge in Canada.)
•THE BEST BROTHERS (A tale of two brothers who learn to understand each other after the death of their mother.)
•THE WAR OF 1812 (The history of the Village of the Small Huts: 1812-1815.)

Besides their regularly scheduled plays, the Festival offers stage-side chats, the Celebrated Writers Series, Night Music, Table Talks, pre-show lectures, lobby talks, public lectures, the teaching Shakespeare School and The Teachers’ Conference.

What’s the lodging like? Hotels, motels and bed and breakfasts abound to fit any wallet. I like a b & b. You get to meet new people and there is a nice friendly feel of being more than a guest. My favorite is the Avery House (www.averyhouse.com).

Hungry? For moderate cost and high quality, try The Annex Cafe (38 Albert Street). Cleveland theatre legends Dorothy and Reuben Silver, who are Stratford regulars, recommend The Waterlot Restaurant and Inn (17 Huron Street behind the Royal Bank) in New Hamburg, which is about 20 minutes away (www.waterlot.com).

Packages can be arranged by www.theatrevacations.com. Stratford Escapes (theatrevacations.com), is an efficient way to make reservations. For individual tickets call 800-567-1600 or go on-line to www.stratfordfestival.ca.

Helpful hints: The ride from Cleveland is about six hours through Buffalo. Go on-line to the festival to get directions. The routings offered by AAA and Yahoo maps are confusing and miles longer. To satisfy border requirements carry your passport. Nothing else will do.

Go to Stratford, Canada! Find out what lovely hosts Canadians are, and see some great theatre!

Stratford Festival of Canada 2011 reviews

The Stratford Shakespeare Festival of Canada is in full production

The Stratford Festival of Canada, located in Stratford, Ontario, is waiting for you! Great theatre, good food, and nice scenery.

My reactions to the plays I saw were:

Superb, totally involving THE LITTLE YEARS

Every once in a while a play and production so captures the imagination, and is so emotionally moving, that it deserves the designation of “superb,” in a class of its own. Stratford’s THE LITTLE YEARS is such a play and production.

In his masterfully written script, John Mighton examines how life’s circumstances, societal attitudes, and our significant others affect our psyche. The author rightly describes his creation as being, “about lost opportunities and lost potential.”

Kate, a math and science prodigy, is persuaded by her mother and teachers that her ambitions and perspectives are unrealistic for a young woman in 1950. Her brother William, however, is celebrated and nurtured for his genius.

As we watch, a transition of twenty years takes place and we experience the horrific effects of the decisions made. Kate is a self and other outcast, William’s star has burst. She puts her thoughts and feelings into a set of diaries, which when later found and read, brings about dramatic changes in the lives of both Kate and William’s daughter.

This is a poignant chronicle of a meaningful life unlived, but allows for a potential bright future for another person because the life was lived in the way that it was.

The festival’s production, under the laser focused direction of Chris Abraham, is compelling. Abraham has taken Mighton’s words and created one of the finest pieces of theatre I’ve ever seen. Irene Poole is mesmerizing as Kate. This is an award winning performance. The rest of the cast works as a focused unit to bring about an ending that brought tears and cheers from the audience.

Capsule judgement: The Festival’s THE LITTLE YEARS is an amazing accomplishment. It is an absolute must see. I seldom give a play a standing ovation. At the conclusion of the production I was on my feet screaming as soon as I was able to get my emotions under control.

TWELFTH NIGHT delights

Twelfth Night is a romantic comedy. Despite the fact that the play offers a happy ending, in which the various lovers find one another and achieve bliss, Shakespeare shows that love can cause pain.

The play, which has been called, “one of Shakespeare’s transvestite comedies,” contains plot ideas which include that the clear lines of gender are uncertain and ambition is folly.

Like many of Shakespeare's comedies, this one centers on mistaken identity. The leading character, Viola, is shipwrecked on the shores of Illyria during the opening scene. She loses contact with her twin brother, Sebastian, whom she believes to be dead. And thus the elements are set for love, comedy and fun.

Des McAnuff’s directing is focused. The cast is outstanding, the timing wonderful, the visual and special effects attractive, the sets add to the production, and Michael Roth and Des McAnuff’s musical interludes are wonderful. Tom Rooney shines as Malvolio, Cara Ricketts is wonderful as Maria, and Stephen Ouimette steals the show as Sir Andrew Aguecheek.

Capsule judgement: TWELFTH NIGHT is a delightful production which nicely holds the audience’s attention.

The un-MERRY WIVES OF WINDSOR

It’s pretty bad when the best part of a theatrical production is the intermission.

This is the sixth time that the Festival has produced THE MERRY WIVES OF WINDSOR. In the past lives, the productions have been called fun, even giddy. Unfortunately, that’s not the case with the present poorly directed, poorly paced, mainly humorless production.

Merry Wives looks at life in sixteenth century Italy. Sir John Falstaff arrives in Windsor very short on money. He decides to court two wealthy married women, Mistress Ford and Mistress Page. Through a series of fanciful incidents, Falstaff finds himself in a clothing hamper, thrown into the Thames, and generally disgraced. Duels, threats, sexual innuendoes, sarcasm, and rejection open the door for potential delight.

Unfortunately, in the misguided hands of director Frank Galati, the script falls flat. Geraint Wyn Davies is not funny as Falstaff. Nigel Bennett can’t be understood as Doctor Calius. Janet Wright develops no characterization as Mistress Quickly. And, that’s only the tip of the complaints.

As someone in the audience said at intermission, “This is the unfunniest funny play I’ve ever seen.” His companion said, “Let’s get some wine, maybe that will make the second act better.”

Capsule judgement: THE MERRY WIVES OF WINDSOR is a poorly conceived production that is not only boring, but close to embarassing!


TITUS ANDRONICUS…a compelling horror of revenge

In this age of racial, cultural and religious conflicts, civil incivility, and political intractability, it seems only proper that the Festival showcases a horror play about the folly of revenge.

TITUS ANDRONICUS is one of Shakespeare’s least produced shows. It is no wonder. Featuring rape, severing of hands and a tongue, torture, beheadings, rape, vile verbal outbursts, a live burial, cannibalism, and mass murders, this is not a play for the weak of stomach. It is a nonstop tale of abominations.

The play is set during the latter days of the Roman Empire, and tells the fictional story of Titus Andronicus, a general who returns from years of war as a conquering hero, but with only four out of twenty-five sons still alive. He has captured Tamora, Queen of the Goths, her three sons, and Aaron the Moor. In compliance with Roman rituals, Andronicus kills Tomora’s eldest son to avenge the death his own fallen children. This act earns him Tamora's promise of revenge. Thus the path is etched for the ensuing blood bath.

The production, under the focused directing of Darko Tresnjak holds back nothing. Performed in a thrust stage with the audience close to the action, almost too close as every vivid detail jumps out, the action is visually and emotionally startling.

The cast is universally strong, with John Vickery totally believable as Titus, the beautiful Amanda Lisman heartbreaking as his raped and disfigured daughter Lavinia, Claire Lautler, properly hellish as Tomara and Dion Johnstone evil incarnate as Aaron.

Capsule judgement: Filled with visually repulsive action TITUS ANDRONICUS is a repugnant lesson about revenge that is not an easy sit in spite of getting a transfixing production.

CAMELOT, a perfect place, a perfect time, a perfect love story!

Allan Jay Lerner and Frederick Loewe often center their musical plays on finding the perfect place, time and love story. What could be a better place than Camelot, (“in short, there’s simply not a more congenial spot for happ’ly ever-aftering”); the era of King Arthur and his “might for right” round table of knights; and the love of Arthur and Guenevere (or is it Guenevere and Lancelot?)?

The fantasy has wonderful music: I Wonder What the King is Doing Tonight?, The Simple Joys of Maidenhood, How to Handle a Woman, What Do The Simple Folks Do?, I Love You in Silence, and the theme song.

The sets, costumes, lighting, music, and performances are all top notch. Director Gary Griffin’s directing is traditional, but effective, and the choreography is in keeping with the music and the time period.

Geraint Wyn Davies makes for a picture perfect King Arthur. Kaylee Harwood is radiant as Guenevere. Her voice is lovely and she is totally believable in the role. Jonathan Winsby is handsome and sings and acts the role of Lancelot well, but he just doesn’t have the physicality needed for the role.

Capsule judgement: “Don’t let it be forgot, that once there was a spot, for one brief shining moment, that was known as Camelot.” Right now that place is Stratford’s Shakespeare Festival where the show is getting a fine production.

I did not get to see JESUS CHRIST SUPERSTAR. Sources I trust raved about it.

Hotels, motels and bed and breakfasts abound. I like Avery House, 330 Ontario Street (800-510-8813) where Sue makes wonderful breakfasts and Judy is Mrs. Clean! Park your car and walk everywhere.

Hungry? For moderate cost and high quality, try The Annex Cafe (38 Albert Street) and Simply Fish and Chips With a Twist (118 Downie Street), which subscribes to the Ocean Wise program for fish stability.

My wife can’t get out of the Touchmark Shop (137 Ontario Street), which was awarded the Chamber of Commerce 2010 Excellence Award, without bags full of original Canadian clothes and jewelry.

Packages can be arranged by Stratford Escapes (theatrevacations.com), is an efficient way to make reservations. For individual tickets call 800-567-1600 or go on-line to www.stratfordfestival.ca.

Go to Stratford, Canada! Find out what lovely hosts Canadians are, and see some great theatre!