Marc Savitt - Page 5

At it's core, WHAT THE JEWS BELIEVE is a poignant story about the loss of faith and the journey to find it. Moreover, it is about life. The joys, sadness, fears, and many of the overwhelming number of questions that come with it. To his credit, playwright, Mark Harelik, goes to great lengths to pose a plethora of questions most of have, or will have to deal with. It is both notable and admirable that he does so without providing answers. About the choices we make as well as their consequences and impact. Harelik encourages us to think but never tells us how, what, or why we should do so.

Over the span of two hours, TIME STANDS STILL explores the relationship between the individuals and the two couples at a crucial juncture in each of their lives. Their desire to move forward in conflict with the comfort of clinging to the past. Will they fight, challenge, accept, reject, change, or stand still?

Felder's performance is sublime. Watching his hands manipulate the keys of the Steinway Concert Grand Piano is a thing of beauty almost like watching the seemingly effortless movements of Gene Kelly and Syd Charise in American In Paris. So much so, it felt as if I were floating, gliding, and soaring above my seat throughout the production. Felder's performance is so genuine and strong, tears were brought to many an eye when he setup his performance of the duet from Porgy and Bess. He explains the evolution of this and other pieces providing fascinating insight and showing what an absolute genius Gershwin was. Felder's performance of the entire Rhapsody in Blue itself is well worth the price of admission. Happily, the show provides much more including both Q&A and sing-along segments.

One should plant their tongue firmly in cheek for this one. It is over-the-top, exaggerated, and farcical in the way of Urinetown, The Book of Mormon, and Something Rotten. The original music is quite good and rather entertaining. The content seems to be split between two camps some directed at the a?oeadult generationa?? of baby boomers, and some at their a?oemillenniala?? offspring. Not that the two can't or don't overlap. Several common stereotypes and clichés are targeted as the butt of many jokes so there is pretty much something that works for just about everyone. There are some fun moments that require thinking: a?oethat Greek figure of a daughter of yoursa??, a?oelet's light a match behind this cowa??; and some that are just plain in your face: a?oemaybe the earth doesn't like an enemaa??. Some, I really just did not understand: a?oejust because you have the same feet doesn't mean you have the same legsa??, nor why it is supposed to be funny. That's when I realized it was best to simply let go and enjoy the silliness that abounds.

The brothers reflect on their lives revealing bad parenting, neglect, abandonment and a series of life events that have left the two relatively young men badly broken. When Lincoln suffers yet another setback, he returns to his previous vices and the life lessons each of the brothers has learned well, are once again set into play - this time upon each other. The result is an overwhelming piece of riveting drama that is raw, deeply emotional, and must be experienced to be appreciated.

As the subtitle clearly states HAMILTON is An American Musical and to say there is a lot of that would be an understatement. I don't think there is more than about five minutes without music over the course of the two hour and 45-minute production. Thirty-four musical numbers are presented flawlessly by the cast of nearly 40 talented performers. While there are no low-points to speak of, the capacity crowd pleasing highs are plentiful and include: a?oeThe Story of Tonighta??, a?oeThe Schuyler Sistersa??, a?oeYou'll Be Backa??, a?oeHelplessa??, a?oeWait For Ita??, a?oeYorktowna?? (The World Turned Upside Down), a?oeDear Theodosiaa??, a?oeWhat Did I Missa??, a?oeSay No To Thisa??, a?oeWashington On Your Sidea??, a?oeOne Last Timea??, a?oeBurna??, a?oeIt's Quiet Uptowna??. Naturally they are often delivered by the leads and featured players but the power and energy that resonates throughout the theatre in production numbers featuring the full cast including the attractive ensemble complete with sexy and sultry choreography is undeniable.

The cast includes Martin Jason Asprey (Mr. Frank Ford), Steven Barkhimer (George Page), Gregory Boover (Master Fenton), MaConnia Chesser (Meg Page), Jordan Cobb (Anne Page), Tobias Goodman (Pistol/Simple), Nigel Gore (Sir John Falstaff), Cloteal L. Horne (Mistress Quickly), Jennie M. Jadow (Alice Ford), Madeleine Rose Maggio (Robert Shallow), Bella Merlin (Sir Hugh Evans), and Mary Shalaby (Nym/Rugby). Many of whom we recently enjoyed in the Shakespeare & Company production of Twelfth Night. The troupe is outstanding. Steven Barhimer, Gregory Boover, MaConnia Chesser, Jordan Cobb, Jennie M. Jadow are so at-ease and comfortable in their roles and make the audience feel likewise. Tobias Goodman and Mary Shalaby are especially noteworthy and accomplished particularly given that they are the youngest in the ensemble but keep pace and level with both more seasoned and professional members of the cast. Madeleine Rose Maggio and Bella Merlin both take on roles of the opposite gender with confidence and convection and both make it work well. Cloteal L. Horne is sassy and soulful providing enough attitude to keep things real and some surprise vocals that are impressive as well. Nigel Gore and Martin Jason Asprey seem to have been born to do Shakespeare. Both have well-developed sense of comedic timing. Asprey's banter directly with the audience delights and earns spontaneous mid-scene applause multiple times.

Directed by Gregg Edelman, this production features Carla Duren (Colleen Haran), Carson Elrod (Glen Geer), Penny Fuller (Lucinda Royal Scott), Samantha Hill (Summer Oliver), Dee Hoty (Joan Stern), and Count Stoval (Hal Polick). As they present the one-act plays, we can clearly see that, as their resumes suggest, these are skilled and talented performers. Unfortunately, with the exception of the character of Lucinda, the material does not provide the cast much opportunity to share that with us. The characters in and of themselves, are thinly developed. We don't have a chance to know them at more than a surface level nor to care.

Yes, the setting and backdrop for the events that play out is recovery. And, yes, along the way we learn about the steps, but Bock's heartfelt and often humorous material is about people. Not, those people or a?oeYOU peoplea?? a?' all people. More specifically, how people are more alike than different. How that which we claim not to understand and often separates us is a manifestation of fears. As an example, in response to Arnie's desire for change in the standard routine we learn why Gail clings to it as she explains that a?oeso much of sobriety has to do with change, its nice to have some constantsa??. When both Nicole and Tim each face their own personal challenges, we are reminded that although we cannot choose our family of origin, we can choose to build a supportive and nurturing family of choice comprised of select members of the family of man. An unexpected visit from Gail's estranged daughter, Angela (Cassie Beck) really upsets the routine and provides a reminder that forgiveness, like love, are both hard to ask for and often, even harder to give.

This production with the new translation is notably fresh and remarkably relevant. To WTF's Artistic Director, Mandy Greenfield's credit it is another excellent inclusion in a rich and diverse season. The language is contemporary and easy to follow, understand, and relate to. The subject matter, which includes religion, venereal disease, incest, and euthanasia, questions accepted social practices and norms. Possibly surprising the audience and most definitely stirring up debate. Where most regular tragedies deal mainly with the unhappy consequences of breaking the moral code, GHOSTS deals with the consequences of not breaking it. The parallels between the material written 138 years ago and events currently playing out in the US and across the world are stunning and undeniable.

There are a few slower moving moments in Tony Award winning (Book of Dear Evan Hansen) playwright Steven Levonson's work but there is plenty of pathos as well as lots of levity and laughter in IF I FORGET. The ensemble cast is very strong and extremely well balanced. So much so that at some point I stopped seeing individual performers engaged in their craft as actors and became totally engrossed in watching a family. While this may be somewhat attributable to my own personal connection to the subject matter as a member of the diaspora and secular Jewish community in suburban America, I think the Fischer family and its many dynamics will feel familiar to most. In other words, you don't have to be Jewish to appreciate this powerful and moving play, but it won't hurt. Many audience members will likely see their own family members on the stage. IF I FORGET explores, deeply, a family and its history. It looks at the past, the present, and how the future might affect them, as well as the legacy they should / will leave.

There is quite a lot to like about this exemplary Williamstown Theatre Festival Commission and recipient of an Edgerton Foundation New Play Award. I've discussed the play with several people who've seen it.  They all enjoyed and spoke highly of the experience, but each focused on a different aspect of its many nuances and facets. You would be crazy not to go and see what it says to you if / while you can. TELL ME I'M NOT CRAZY continues only through August 3rd at Williamstown Theatre Festival's Nikos Stage.

The Tony Award winning book by Terrance McNally and score by Stephen Flahrety and Lynn Ahrens, focus on events taking place over a century ago, but RAGTIME's content and messages remain highly relevant, and important, particularly given the current socio-political climate.

BSC Artistic Director, Julieanne Boyd, Directed the ambitious endeavor. This play represents quite an undertaking on many levels and on most them, this production succeeds.

In this musical exploration of 26 people from various walks of life and how people's relationships to their work ultimately reveal key aspects of their humanity you will meet and learn about your friends, neighbors, service providers, and maybe even yourself.

The sometimes confusing, amusing, and thought-provoking play premiered in 1942. This production has been freshened up a bit and includes modern references some of which are particularly relevant to the Berkshires. The main characters are George and Maggie Antrobus, their two children, Henry and Gladys, and Sabina, who appears as the family's maid in the first and third acts, and as a beauty queen temptress in the second act. The play's action takes place in a relatively modern setting but is full of anachronisms reaching back to prehistoric times.

SELLING KABUL is a powerful, raw, riveting and highly relevant new drama that connects on a level seldom seen and rarely felt. The world premiere run continues on the Nikos Stage at Williamstown Theatre Festival through July 20.

The impetus behind ROCK AND ROLL MAN: THE ALAN FREED STORY was not the Freed family. Gary Kupper was approached by Larry Marshak, with whom he had worked for many years, about a third party's desire to do a story about Alan Freed as a 'jukebox musical'. The intention was that Kupper might be able to write a couple of songs for the piece. Kupper realized that Freed's story is a classic one. A rise and fall and then redemption story that can't be told as a jukebox musical because Alan Freed wasn't a singer. He feels that a jukebox musical would have cheated the story. This is the story of this man, and the story of Rock-and-Roll. That notion gave birth to the 'book musical'. In 2011, Kupper started writing original songs and sometime later, the team started writing the script. Freed's son, Lance, stepped-in and helped to secure the rights to the Rock-and-Roll classics. They have combined the music of the era with storytelling. They admit it's both risky and tricky and has never really been done to the extent that it is in this show. Thirty to thirty-five original songs were written, most of which were thrown out. A little more than a dozen are in the current iteration of the show.

BSC veterans Carson Elrod, Jeff McCarthy, and Debra Jo Rupp, all of whom are well known to area theatre goers are joined by Cary Donaldson and Ruth Pferdehirt. The ensemble is well balanced and show themselves to be exceptional character actors. Not every line lands solidly, but the skilled cast under the direction of Tracy Brigden provides an evening of entertainment that is fast paced, frivolous, and lots of fun.