Marc Savitt - Page 6

The entire cast proves themselves to be exemplary delivering long complicated dialogue that remains true to the old English, not with trite overdone accents but with polished voices and presentation that helps to make each unique, authentic, and engaging. Although the language can be challenging at times, the actors use of body language and near flawless diction helps greatly. Their musicality is both noteworthy and impressive.

There is a lot to like packed into this production directed by Randal Myler. The action is well paced and well-staged. The use of turntables, tiering, and scrims are particularly effective elements of the scenic design by Tim Mackabee. The choreography by Brian Reeder, and costumes designed by Leon Dobkowski present a feast for the eyes. The entire 19-members of the cast deliver in acting, singing, and dancing. It would be an oversight not to call out the performance of Richard Crandle. His portrayal of Little Richard is brassy, sassy, and all kinds of Woooooooo. The audience is noticeably energized when Crandle is on stage and few wish he would 'shet-up' as if that were even remotely possible.

A HUMAN BEING, OF A SORT represents an examination of what may lie beneath the surface. It suggests we look more closely at a reality complicated by context. It presents many of the paradoxes seemingly present in human interaction. It is a period piece but also quite timely and relevant. We find ourselves questioning the constructs of control, freedom, power, faith, and the notion of perception versus reality. Is it possible to know what lies in the hearts and minds of men or any other creature? Can we ever truly know, why the caged bird sings?

Directed by Obie Award winner Robert O'Hara, Hansberry's fearless interrogation of hope in the face of racial and economic strife is as provocative and powerful today as when it premiered. In the hands of this talented team, the issues the younger family faces transcend traditional lines and distinctions. Their challenges and aspirations are those found in just about any household.

In a time when most of us are tied to and dependent on electronic devices, and we are bombarded by messages, tweets, compressed news cycles, and Fear Of Missing Out, it is rare that we have an opportunity to step-back, disconnect, decompress, and focus simply on the people and things that really matter. OUTSIDE MULLINGAR at Berkshire Theatre Group's Unicorn Theatre presents such an opportunity that you would be wise to take advantage of.

INTO THE WOODS opened on Broadway over 30 years ago. It has since been revived several times, adapted into a Disney Film, and presented by countless regional and community theatres as well as school groups. If you are thinking, "been there - done that" and there is no reason to see this presentation at BSC you are certainly not alone (no one is, after all) but I believe you are mistaken.

Despite the valiant efforts of the cast, a strikingly handsome set, and beautiful costumes, PRIVATE LIVES will not be (pardon the pun) everyone's cup of tea. The material is dated and generally appeals most to an older audience segment and those who long for the days of Fred Astaire and Ginger Rogers (not that there is anything wrong with that). To be clear and fair, many audience members at the charming Dorset Playhouse where this production of PRIVATE LIVES continues through July 6th enjoyed the presentation thoroughly.

This bold, brave, important, timely, and highly relevant story is a cautionary tale. In the spirit of Brave New World, 1984, and Fahrenheit 451 it is set in a dystopian society but as Playwright Stacey Rose, who was awarded the grand prize in BSC's Bonnie & Terry Burman New Play Award of 2019 for this piece, points out - in the 'not too distant future'. It has a lot to say.

Processing the powerful piece of theatre and important lesson in American History / civics HOLD THESE TRUTHS provides, the phrase: 'those who fail to learn from history are doomed to repeat it' comes to mind. Particularly considering the relatively low level of coverage and general knowledge of this period in our classrooms and citizenry. I was also reminded of one that I am quite fond of: 'America - Home of the FREE because of the BRAVE.

It is a challenge to convey in words the power, importance and relevance of this production. Even harder still, the impact it has on audience members. What I can and will say is that it should not be missed and, be sure to be present and attentive to the inspiring message in the closing line.

THE GOAT OR, WHO IS SYLVIA? Is a quick paced juxtaposition of humor within rage, anger, and conflict all wrapped up in the trappings of civility. It forces us to look between the blurred lines between love / sex / emotions; connections / physical / emotional; normative behavior - the "supposed to" / perversion. It suggests that we move beyond simply "getting by" and focus on "what really matters"

There is something for everyone in this offering. As the event's title suggests, rather than a single fully produced multi-act production, audience members are served ten small plates, each one running about ten minutes by an ensemble cast of six that includes BSC returnees Peggy Pharr Wilson, Keri Safran, Robert Zukerman and welcomes Sarah Goeke, Michael Fell and Deshawn Mitchell. Directing credits are split equally between BSC Artistic Director Julianne Boyd and returning for his third year, Matthew Penn each responsible for five of the pieces.

Thanks to Julianne Boyd and the team at Barrington Stage Company, Berkshire audiences can be transported back to a 'simpler time' through THE GLASS MENAGERIE.

At each turn, characters undergo significant changes in personality, demeanor, and motivation. It can be both exhilarating and at times slightly confusing for audience members to watch the characters twist along with the plot. It is rewarding, however, as we are entertained by an exploration of the psychological defense of denial along the journey to one's truth.

HIR is anything but traditional. Playwright Taylor Mac has termed his work 'absurd realism' wherein 'the absurdity comes from a heightened but realistic point of view'. Those bold, brave, and open enough to sit in the discomfort that may come with looking at things from diverse points of view will be rewarded with a rich, and very real perspective on the world in which we live.

The BERNSTEIN CENTENNIAL CELEBRATION AT TANGLEWOOD concert was one of the largest and most significant performances taking place worldwide in recognition of what would have been Leonard Bernstein's 100th birthday. The unprecedented and unparalleled event marked the climax of Tanglewood's season-long celebration of the Bernstein Centennial.

Broadway World had the opportunity to sit down with Rachel after the standing ovation for a performance of WELL INTENTIONED WHITE PEOPLE now in its world premiere run through September 8th at Barrington Stage Company's St. Germain Stage in Pittsfield, Massachusetts.

The entire ensemble cast (all newcomers to BSC) deliver unquestionably high-quality performances. Each displaying a range of emotion and dynamics as their characters navigate the windy and often choppy waters with such strength and dexterity that there is not even a moment we doubt them, nor the conviction with which they are compelled to do what they believe to be the 'right thing'.

If you are unnerved by dangling participles, musical compositions with un-resolved chords, or you like a play to flow logically along an expected rhythm or path and tie-up loose ends; HEISENBERG may leave you unfulfilled. Those who enjoy intrigue, the unconventional, and a few wait-what moments will likely find it more of a satisfying meal.

This funny, powerful, and poignant journey with its twists and turns offers catharsis and understanding for those wise and brave enough to take it.  I strongly encourage doing so.