Ballet Maribor

Jacob's Pillow, Becket, MA

www.jacobspillow.org

through July 5, 2009

by Amy Meek

Jacob's Pillow Dance Festival's Ballet Maribor's Radio and Juliet demonstrates the Pillow's dedication to promoting international cultural exchange of talented companies. Ballet Maribor, a prominent European performance company from Slovenia, mixes both classical and contemporary ballet styles. Choreographer Edward Clug, takes Shakespeare's universal love story Romeo and Juliet and reinvents it in a refreshing, yet unexpected way. Clug's ballet shows the universality of the themes of love and aggression, adding the possibility of nontraditional perspectives. The audience seess Juliet's thoughts as Romeo dies, and what may have happened if she had lived.

?Set to music by Radiohead, this alternative rock band's sound is characterized by its dark quality and heavy use of guitar and electronic instruments. The music provides the ballet with moments of lushness as background for Juliet's desperation, while at other times pulsates with hard-core intensity during the men's group dances. The songs propel the dancers through the story, sometimes in harmony and sometimes in disparity, as they seem to be controlled by the music against their wills.

The troupe is technical and beautiful in its movements. Tijuana Krizman (Juliet) shows her struggle between convention and passion as she alternates with individual, isolated movements and supported movements with the male dancers. She has a clean, fluid style that expresses Juliet's intent as she navigates her own way through the ballet. The men, who alternate playing Romeo, demonstrate the more vigorous and forceful qualities of masculine group behavior in an orderly chaos dancing against the robotic music with spasmodic, yet graceful motions. They stand separate at times, but suddenly come together in a united chorus.

The combination of the superb dancing, mesmerizing choreography, compelling music, and artistic audiovisual effects make Radio and Juliet a unique dance experience. The audience is drawn in and then pushed in multiple directions. The experience forces them to leave familiarity behind and to look at new ideas within the context of Romeo and Juliet, while at the same time never overlooking the timelessness and universal themes of the story.

Summer Groove

Talcott Mountain Music Festival, Simsbury Meadows, CT

www.simsburymeadows.com

Various events through July 17, 2009

by Eric Sutter

Summer Groove at the Performing Arts Center at Simsbury Meadows was a rainbow full of sound. Under Edward Cumming's inspired direction, the Hartford Symphony Orchestra backed David Foster and the Mohegan Sun All Stars for a sizzling but soothing night of rhythm, blues and soul. With Foster's lead vocal out front, the All Stars' horn section set aflame "Powerful Stuff." It was wonderfully unexpected to hear their popular musical stylings with the strings of the orchestra, collaborating on the rock ballad "A Whiter Shade of Pale."

The band was pumped as it shifted into the R&B tune "What a Life" with its fancy sax lines. Guest vocalist Christine Ohlman paired up with Foster on a lively "Soul Shake" performed Delaney and Bonnie-style. Foster played the tender love ballad "You Are So Beautiful" with Mitch Chakour on piano and Maceo Parker, who soloed on saxaphone. Parker sang "Georgia" lovingly accompanied by piano and strings. The nine-piece band cranked up "Soul Man" as Foster and Parker traded lead vocals and hot horns all around.

At twilight, the band resumed with a touching tribute to Michael Jackson on "I'll Be There" with the audience joining in. Chakour's soulful rendition of "What's Going On" was puntuated by the horn section, as was "The Letter," replicating a Joe Cocker style. Billy Holloman's sax intro and vocal on "Stand By Me" were heavenly, accented by a melodic guitar solo by Kal David. Parker's "Pass The Peas" showcased his funky saxaphone playing that caused a stir with throngs of people who moved to the groove. Foster asked for participation on the closer... a Woodstock revival anthem. "With a Little Help from My Friends" became a communal sing and sway. Peace was back by popular demand.

Haydn & Bach Concert

Aston Magna, Great Barrington, MA

www.astonmagna.org

through July 11, 2009

by Debra Tinkham

Theatre audiences of today expect musicals that meld the lyrics with the music so that there is little doubt that the two easily become one. This was not the case in 1945 when Rodgers & Hammerstein's "Carousel" hit New York. Rolling in and off the stages were songs, dance, dialogue, and sometimes plot. According to Time Magazine, this time it was different, calling R&H's work "the best musical of the 20th Century."

Daniel Stepner, Artistic Director, stepped out with fellow performers, Nancy Wilson (violin), David Miller (viola) and Loretta O'Sullivan (cello), to begin Aston Magna's season opening performance with Franz Josef Haydn's entertaining and fun String Quartet in D Major, Op 20, No. 4.

As is usual with this talented group of musicians, their use of non-verbal communication, in addition to their splendid talent, combined to make the Allegro di molto a wonderful listening experience. The echoes of Un poco adagio e affetuoso, along with the melancholy of the cello, were enough to move one to tears. Minuet alla Zingarese, a menuet in a rapid 3/4 time, was just short and sweet! Finally, Presto e scherzando' harmony was not only in the music, but in the personality of the performers. Haydn's Arianna a Naxos, cantata for soprano and strings, welcomed Dominique Labelle, vocalist, and Anne Trout, bass viol. Labelle captivated listeners with her full-bodied, rich voice, comparable to a hearty, full-bodied burgundy. This mythical operatic story combines the talent of several composers and still remains slightly cloudy as to where the credit should be given. It is the usual story of love, suffering, anger, and in this case, a happy ending.

Intermission was followed by the enjoyment of Johann Sebastian Bach's Weichet nur, betrubte Schatten, a wedding Cantata, sung by Labelle, and the evening concluded with Heitor Villa Lobos' Bachianus Brasileiras No. 5, again, tastefully performed by Labelle.

Aston Magna has a bevy of upcoming beauties, including Handel's The Beggar's Opera on July 4th. The fireworks of music are sure to please the most discerning listener. So much music; not enough time to expound on the brilliance and talent of the "Aston Magna Meistros." Bravo!

Hamlet

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through August 28, 2009

by Karolina Sadowicz

"To be or not to be" is the question first asked by Hamlet as the play opens with flashes of light and thundering electricity. Director Eleanor Holdridge's stark staging opens with Hamlet facing his mortality; the play performed is the last days of the prince's life flashing before his eyes.

Staged with minimal props and simple, tailored costumes, "Hamlet" offers no distractions from the superb work by the small ensemble cast. The set is bare and black, with only inventive lighting and the actors creating a setting. Music is used well to enhance the atmosphere, but at times other sound effects are jarring and overwhelming.

Dennis Krausnick's Polonius shines a light on humor often overlooked in this play, and garners big laughs for his verbose manner and misguided assesment of Hamlet's motivation. Jason Asprey as Hamlet is mournful, introspective, and hot-tempered, but also playful and even warm. Amid his cerebral wrangling with the self, the prince of Denmark shows believeable tenderness towards those he loves, and plays at madness with humor and sharp timing. The surprising levity of some scenes enhances the poignancy of others, reserving the highest intensity for moments where it belongs. At times, Asprey turns up the volume where subtlety would work best, but overall his performance is textured and human.

Claudius, the murderous king, is slick and cocky in the hands of Nigel Gore, sporting a pinstripe suit and an earring. He struts with confidence and without conscience, and given the opportunity shows such relish at his own villainy that even he is horrified. In a brilliant twist of staging "Hamlet's" play within a play, the king and queen are coaxed into acting out their parts in the previous king's death with unintentional gusto.

Johnny Lee Davenport steals the show in a chilling turn as the ghost, and equally hilarious moments as a traveling actor and gravedigger. Elizabeth Raetz is a simple but haunting Ophelia.

This swift-paced no-frills production underscores the power and complexity of "Hamlet." Each actor is outstanding and delivers a performance that is visceral, accessible, and timeless - Shakespeare at his best.

Carousel

Barrington Stage, Pittsfield, MA

www.barringtonstageco.org

through July 11, 2009

by Shera Cohen

Theatre audiences of today expect musicals that meld the lyrics with the music so that there is little doubt that the two easily become one. This was not the case in 1945 when Rodgers & Hammerstein's "Carousel" hit New York. Rolling in and off the stages were songs, dance, dialogue, and sometimes plot. According to Time Magazine, this time it was different, calling R&H's work "the best musical of the 20th Century."

In recent years, "Carousel" has not often been produced. Barrington Stage mounts the play as the opening mainstage show in their 15th season. Barrington has not so much taken on a huge task, but given itself a box office test. Yes, the replicated 1900s New England wharf, colorful petticoat dresses, "human" carousel of horse bodies (beautiful, gently moving), and some big dance numbers make for an ambitious undertaking, and all succeed very well. Yet, the play is dated in theme and style - perhaps a minus, or perhaps a plus. It's 2009, the economy dips daily; is this something to be constantly reminded of 24/7? Maybe not, and just maybe the 21st Century audience needs the nostalgia of joy and even sadness of experiencing "Carousel" again, or for the first time.

Julianne Boyd's well-directed performance has exactly what this musical should have. It's old in look and feel, and probably very similar to the original of 60+ years ago. While the reprises seem to go on and on; well, that's what R&H wrote. However, "Carousel," Barrington, Boyd, and company give it all they've got for the important stuff, and oftentimes that means long sections of the play. Patricia Noonan and Aaron Ramey, in the lead roles, have wonderful voices which launch the show with "If I Loved You." Noonan's "What's the Use of Wond'rin" poignantly foreshadows her life. Surely, the single best reason for hiring Ramey is to sing the exquisite, emotional, and so lengthy that it takes a 180 degree turn - "Soliloquy." He nails it. Normally, the role of Carrie is annoying, but Sara Jean Ford's smart soprano gives her character charisma. Finally, kudos to the piano duet that manages to easily carry the dance pieces, "Carousel Waltz" and "Ballet."

Last of the Red Hot Lovers

New Century Theatre, Northampton, MA

www.newcenturytheatre.org

through June 27, 2009

by Meghan Lynn Allen

New Century Theatre's opening is red hot! "Last of the Red Hot Lovers" follows the bumbling antics of fish restaurant owner Barney Cashman, a married middle-aged man whose clumsy, comical, and pathetic attempts at having an affair entertains audiences in three acts.

Buzz Roddy depicts Barney with a combined anxiousness, hopelessness, and ridiculousness to fall in love with him...even though that's not wise. Just as he reaches a full-blown mid-life crisis, Barney realizes that he somehow missed the sexual revolution of the 1960's. He frantically tries to catch up by seducing three different women. Although his hands smell like fish, his seduction lair is his mother's apartment, and he is married with children, these three different women take him up on his lackluster adulterous offer.

Denise Cormier plays Elaine Navazio, a pessimistic, tough-talking, nicotine-obsessed, married woman who has plenty of experience with extra-marital pleasures. Elaine's biting sarcasm is deftly executed by Cormier. Cormier and Roddy make a deliciously awkward pair. Sandra Blaney portrays the emotionally-unstable, flower child and drama queen Bobbi Michele. Blaney expertly parades Bobbi's feverish range of emotions out for all to see. Her wacky, maniacal ways are believable and frightening, though hilarious. Blaney and Roddy provide the most comical moments in the play. Finally, Jeanette Fisher role by Sara Whitcomb brings to the audience depression, neuroticism, and melancholy wrapped up in a sweet and sad little package.

Playwright Neil Simon supplies his classic exploration of the darker and funnier side of human nature - in this case heightened by mid-life angst, impossible relationships, and hilarity through tragedy. Under the fast-paced and light-hearted direction of Jack Neary, the play succeeds as a comedy and a fun night out.

Speech & Debate

TheatreWorks, Hartford, CT

www.theaterworkshartford.org

through July 26, 2009

by Meghan Lynn Allen

Stephen Karam's contemporary comedy follows three Oregon high school misfits and their timeless dilemma of how to be comfortable in their own skin. From coming out of the closet to how to find love to how to just plain fit in, Karam flawlessly articulates the dialogue of today's youth in crises. The three teens' lives are intertwined in a maze of internet blogging, chat rooms, and instant messages. Karam addresses the teens' struggles and issues that the adults in their lives refuse to talk about freely.

Jee Young Han plays Diwata, an aspiring and repeatedly non-cast actress in her school who is obsessed with starting a speech and debate club in order to be noticed as a performer. Han steals the show with her hilarious musical podcasts and complete over-the-top commitment to her drama queen character. Her energy is contagious. Ben Diskant portrays Solomon, a high-strung, self-conscious, sexually-repressed son of religious conservative parents. As a school paper journalist, he gets more than he bargains for as he tries to expose a possible teacher/student sex scandal. Diskant perfectly captures Solomon's uptight ways and vulnerable heart so that the audience truly feels him. The third in this comic/tragic trio is Carl Holder as Howie, an openly gay teen who faces the hurdles of a closed-minded community. Holder tackles the challenge of representing out gay youth in Karam's piece, and does so without being a trite caricature. Holder's quirky mannerisms bring a lightness to the piece that is a relief as he deals with heavy topics.

Eva Kaminsky is the voice of "the adult," and plays the roles of both a teacher and reporter. Kaminsky is a believable and welcome distraction to the fast-paced world of Karam's younger generation. The direction, set design, and lighting pop and are just as exuberant as the actors in "Speech & Debate." This comedy feels fresh and current, and it is a must-see for high school and college audiences.