Kicking off Greater Boston Stage Company’s 19th season is new musical “Being Earnest.” Based on Oscar Wilde’s 1894 play “The Importance of Being Earnest,” this show successfully takes the themes, plot, and characters from the well-known farce and layers in a 1960s vibe and a plethora of upbeat musical numbers to fill out the story. And while “Being Earnest” is not the first musical re-telling of Wilde’s comedy—some will consider “Who’s Earnest” or “Earnest in Love” among the originals of this kind—it is certainly a much more creative and conceptual take on the piece, handled masterfully in this production by director/choreographer Ilyse Robbins.Read More
Having premiered on Broadway in 2014, Terrence McNally’s incredible drama Mothers and Sons is now playing on the Elayne P. Bernstein Theatre stage at Shakespeare and Company in the Berkshires. It is a timely play about the complexity of the relationship between a mother and her son. McNally skillfully crafts characters that seem all too familiar and yet we in the audience don’t see how events will unfold as we become engrossed in each scene. We laugh at the uncomfortable jokes they make in their effort to ease the tension that is building. We gasp at the harshness and bluntness of the things they say. We tear up when they break down in unbearable pain. We see our family members, our friends and our coworkers in the various facets of these characters. In this play about change, personal growth, acceptance of others and, without a doubt, love, we see a glimmer of hope and compassion come from the youngest character; who in his innocence and kindness, shows us that good can come from bad and love can be shown in the smallest of ways.Read More
Written by Simon Stephens this two-person play features talented actors Tamara Hickey as the talkative Georgie Burns and Malcolm Ingram as the mature and compassionate Alex Priest. Set in present-day London, we watch as the relationship between two unlikely companions changes over the course of six scenes. A common thread that connects them is the loneliness they feel because they have lost the people who meant the most to them. Georgie is a vibrant, spirited woman in her forties who mistakenly kisses the neck of Alex in a busy train station thinking he was someone else. Alex, poised, quiet, and seventy-five, becomes entangled in Georgie’s life, but it might just be the excitement his solitary life needed.Read More
William Shakespeare’s comedy As You Like It is a story of love and the adventurous journey towards new beginnings. Duke Senior has been banished from court by his younger brother Duke Frederick. Frederick then banishes his niece Rosalind who has grown close with his daughter Celia. The pair attend a wrestling match where Rosalind first lays eyes on Orlando whom she quickly becomes enamored with. Orlando flees from his older brother Oliver who is threatening his life and withholding his rightful inheritance from their father Sir Rowland. He ends up in the Forest of Arden, where Duke Senior, Rosalind and Celia have also found sanctuary. But as we see in the play, when characters take on a foreign persona and live in disguise happily ever after doesn’t come as quickly as they’d like.Read More
With showstopping dance numbers and a true ensemble overflowing with talent, Reagle Music Theatre’s production of “The Music Man” provides a spirited and heartfelt end to the theater’s 50th anniversary summer season.Read More
August Strindberg’s tragic comedy Creditors is a fast-paced, psychologically intense look at life and the cost of relationships. In this adaptation by playwright David Greig, three characters must face their past choices, and in doing so come to the realization that their present state is a result of those choices. Through deception they come to realize the debts they owe others and the unfathomable cost of love. Strindberg, in his naturalistic style, is a master of balancing the darkness of a dramatic psychological thriller and an authentic, unapologetic comedy. The three veteran actors (Jonathan Epstein, Ryan Winkles and Kristin Wold) who have taken on this play under the incredible direction of Nicole Ricciardi have expertly captured each facet of their multidimensional characters. In doing so, they grabbed the audience’s attention from the onset and held it to the end.Read More
Henrik Ibsen's A Doll's House premiered in Denmark in 1879. Over one hundred and thirty years later, A Doll's House Part 2 by writer Lucas Hnath, brings us back to Norway and the Helmer house where Nora slammed the door and left her family and life behind her. Premiering on Broadway in 2017, this play begins fifteen years Nora left her family. Directed by Joe Calarco, this emotional roller coaster of a play is performed by four talented actors who are so deeply invested in their characters it is easy for the audience to get wrapped up in the story.Read More
Written by William Shakespeare, Macbeth, or as most theatre folks refer to it, The Scottish Play, is a psychological and tragic tale of blind ambition and destructive, consuming power. It is a play full of malicious intentions and gruesome murders. Fantastically directed by the Obie Award-winning Melia Bensussen, who was inspired by the ghost stories of Edgar Allen Poe, this production with its intriguing artistic choices made it unique, unlike many of the others I have seen. In this rendition, Macbeth’s ambition and belief in his imagination lead to his destruction more-so than the witches and supernatural forces who, in other productions, are so often blamed. He mercilessly pursues his dreams and desires.Read More
“A Chorus Line” opened at Reagle Music Theatre of Greater Boston last weekend, providing a fantastic start to the theater’s 50th Anniversary Summer Season. With book by James Kirkwood and Nicholas Dante, Music by Marvin Hamlisch, and Lyrics by Edward Kleban, this musical tells the story of a group of seventeen inspiring performers auditioning for a place in a Broadway show’s chorus line. The roughly two-hour piece is conducted like a legitimate audition during which the audience gets to witness these individuals share their fears and motivations with the directing team and one another, all while dancing their hearts out for a chance at one of eight coveted roles.Read More
“Calendar Girls,” by Juliette Towhidi and Tim Firth, marks Greater Boston Stage Company’s last show of their eighteenth season, and is quite the uplifting note to go out on. Based on a true story, this show has been adapted to the stage from the Miramax motion picture of the same name, and tells the story of a group of ladies in a Women’s Institute organization in Yorkshire, England who decide to raise money for leukemia research through the selling of a nude calendar. The catch? The calendar features these women themselves, who are by no means the young model-types that one may come to expect in such calendars, as the art. Soon the project, which starts in memoriam to one of the women, Annie’s, late husband, turns into an opportunity for her best friend Chris, a failing florist, to finally find her place in the spotlight. Yet as the powerful impact this small act of charity has made becomes clear to these women, they are suddenly forced to evaluate their own actions and their place in one another’s lives, leaving them as exposed emotionally as they are on each calendar page.Read More
Now playing at Central Square Theater (Cambridge, MA) is Les Liaisons Dangereuses presented by The Nora Theatre Company. The novel, of the same name, was written in 1782 by Pierre-Ambroise François Choderlos de Laclos. Two hundred years later Christopher Hampton penned the play that would go on to premiere at The Royal Shakespeare Company in 1985. While the story is familiar and has been produced a myriad of ways, in this version all ten characters, including six women, are portrayed by an all-male cast. Director Lee Mikeska Gardner first did this play with an all-male cast when she directed a production in Washington, D.C. in 2005 and wanted to direct a similar production here in Boston over a decade later. This concept is a new, intriguing way to tell an old story and I’m sure while some are confused by it, others are curious to see how it would play out on stage.Read More
Shakespeare & Company begins its season with the New England Premiere of Morning After Grace by Cary Crim. Directed by Regge Life, this new comedy explores the themes of loss, of love and of second chances. Crim carefully constructs a play that tackles some heavy subjects displaying the full extent of human emotions and the need for acceptance and love. What makes this play enjoyable to audiences is how Crim pairs very raw and intense moments with those of realistic and relatable humor. Life and his cast authentically invite the audience to journey with them on the path to recovery and to discover how to be truthful to themselves.Read More
- Boston Theatre Critic
Opening the show is the Boston Ballet Premiere of choreographer August Bournonville's Bournonville Divertissements. It features three selections from his vast work. Following intermission is the full length production of La Sylphide.
It all begins with an ethereal Pas de Deux from Flower Festival in Genzano danced by Seo Hye Han and Junxiong Zhao. They are a well matched pair who danced to the music of Edvard Helsted with ease. The upbeat Jockey Dance from From Siberia to Moscow featured fast footwork from soloists Isaac Akiba and Irlan Silva. The pair was playful and comedic in their interactions with one another as they portrayed jockeys at a horse race. While their piece was fun and engaging for the audience to watch, it was also sharply danced by the pair to the music of C.C. Møller.
Thirdly came Pas de Six and Tarantella from Napoli. Both were stylistically very similar to the earlier Pas de Deux with light, elevating movement. The upbeat group sections were reminiscent of the local Italian folk dancing Bournonville was inspired by. This selection featured Kathleen Breen Combes, Ji Young Chae, Lia Cirio, Ashley Ellis, Paul Craig, Patric Palkens and Lawrence Rines. The talent of the individual dancers was highlighted throughout the piece with each having their own solo moments. It was seamlessly performed with the dancers switching partners and various small group combinations throughout. They all seemed to be thoroughly enjoying themselves. Even more so when tambourines were brought on and the dancers added percussion to the music of Holger Simon Paulli being played by the orchestra. This fun addition brought youthful energy and exuberance to the dancing. It was less “dancers performing on stage for an audience of hundreds” and more “a group of young people dancing with their friends, keeping tempo by hitting their tambourines.”
Following intermission the curtain rises on an immensely striking stone home where the tale begins. A story ballet from start to finish, La Sylphide is full of romance, sorcery and tragedy. Set in the Scottish Highlands, the scenic and costume design by Peter Cazalet and lighting design by John Cuff quickly transported the audience back in time and amplified the atmosphere surrounding the story. Bournonville's La Sylphide is one of the world's oldest surviving ballets. It is the story of James, a young Scotsman, who is set to marry Effie, but on the eve of their wedding he dreams of a beautiful sylph whom he, upon awakening, briefly sees before she mysteriously disappears. His friend Gurn has also fallen for Effie, but believes he'll never have the chance to be with her. That is until the village sorceress Madge tells Effie that it is Gurn she'll marry, not James. James is outraged and sends Madge away, but his outrage is quickly diminished when he sees the sylph playfully dancing around the room, apparently unseen by his other guests. When she leaves, James follows her, leaving Effie confused and crushed. Act two takes place in the forest, where witches dance around a cauldron, sylph's float through the trees and tragedy befalls James and his beautiful woodland fairy.
Patrick Yocum dances the role of James while Misa Kuranaga dances the role of the Sylph. He is strong and adventurous throughout with hints of boyish innocence. She, as always, is stunning and graceful. She’s the perfect embodiment of the playful fairy. When tragedy strikes, her body language completely changes and she crumbles as if merely standing is torture. The contrast between how she danced at the start and how she moved at the end was fantastic.
Derek Dunn portrayed Gurn, friend of James, and seemingly the comedic character within the ballet. The humorous elements of his role were strongly and clearly executed and received numerous chuckles from the audience. His soaring jumps make him a dancer to keep our eyes on in future Boston Ballet productions. The sorceress Madge is cunningly portrayed by Maria Alvarez who, from the way she walks to her facial expressions, fully embodies the darkness and conniving evil within her character.
This ballet features intricate footwork as well as dreamy and flowing romantic movement. It is playful and flirty with extensive character and acting moments. My one critique is that there were moments when certain hand gestures were barely visible and could have been easily missed had an audience member not been watching carefully. While we don’t want the acting and hand or arm motions to come across as forced, we also want them to be big enough and sustained long enough for the audience to see them.
Beautiful dancing and charismatic characters make this production an enjoyable evening of classical ballet. © Boston Ballet's La Sylphide plays at the Boston Opera House from May 24th- June 10th. The Boston Ballet Orchestra is conducted by Beatrice Jona Affron. Though the production runs 2 and a half hours including 2 intermissions, time flies just as quickly as the dancers fly across the stage. For tickets and more information visit www.bostonballet.org
For more of my reviews and theatrical thoughts check out: http://intheatresome1isalwayswatching.blogspot.com/
Contemporary comedies are commonplace in theater, but very rarely does a production surface that manages to produce the sought-after balance of humor and heart needed to make an impact that lasts longer than a well earned laugh.
Greater Boston Stage Company’s “The Legend of Georgia McBride,” directed and choreographed by Russell Garrett, is one of these productions.Read More
‘True West’ was written by Sam Shepard in 1980, and yet his understanding of family dynamics and the volatility of stage and screen producers, allows this play to burst from the page decades later when his characters are portrayed with boundless energy and charisma. What makes them all the more believable is when passionate, seasoned actors are partnered with a visionary director to present a realistic look at a tumultuous relationship. That is what I have found with Hub Theatre Company of Boston’s production of ‘True West’.Read More
In her “Note from the Director,” for example, she writes in detail about her decision to cast Asian actors in the roles of Catherine, Robert, and Claire, referencing her upbringing as a first-generation Filipino-American and how that impacted the way her family dealt with the loss of her father.Read More
This world premiere production of Vichet Chum’s compelling play, “KNYUM”, invites the audience on a journey of discovery. Written and performed by Vichet Chum, Chum portrays Guy, a hotel clerk who works the night shift while studying Khmer, the language of Cambodia.Read More
The story of Charles Dickens’ “A Christmas Carol” is a timeless one. It tells the tale of Ebenezer Scrooge, an irritable, selfish old man who sees no value in the holiday or the spirit of giving it elicits, and who is visited by three ghosts on the nights leading up to Christmas. Through a series of glimpses into his own history and the lives of those around him, the spirits teach Scrooge the error of his ways and help him embark upon his life with a renewed sense of selflessness come Christmas Day.
The meaningful messages in this classic tale are still as relevant today as ever before, making “A Christmas Carol” a traditional holiday staple for theater companies across the country to perform come December. Yet the telling of this story at Central Square Theater, produced by Underground Railway Theater and The Nora Theatre Company, is anything but traditional. Through puppetry, music, movement, and an incredible use of an ensemble cast, this production is able to shape and mold this classic tale into something fresh and utterly unique, while never once compromising the powerful morals within it.
Brilliantly adapted and directed by Debra Wise, this production establishes very quickly that it will not follow the norms of conventional theater. Produced in the round and placing the audience right in the middle of the action, the production does a fantastic job of blurring the boundaries between story and reality usually defined by a proscenium stage. This, coupled with a pre-show segment in which the ensemble interacts with the audience, sets a very specific tone for the piece; right from the start it is clear to audiences that they are about to see a piece of theater that is aware that it is a piece of theater, and that they should be ready to go along for the ride.
It is a risky choice to take a show that people know and love and transform it into something entirely new, but Wise’s intricate vision for this production is so well developed audiences barely have time to miss the classic telling as they’re swept into this creative and artistic variation.
At the heart of this adaptation is Wise’s innovative approach to storytelling as something that extends far beyond words and action on stage. In scenic designer David Fichter’s beautiful Victorian-era London cityscape, for instance, there are modern sayings and Banksy-inspired cartoons integrated into the multi-dimensional piece, accenting the timelessness of the story being told. Perhaps most significantly, this deviation from the norm is highlighted by Wise’s use of ensemble in the production. Rather than just portraying characters, the cast of this show takes on the intimate role of the storytellers themselves, facilitating aspects of the play far beyond just performance.
Throughout the piece, ensemble members can be seen just off stage or even in the midst of the action, reflecting light off the walls with mirrors to signify a ghostly presence, or layering in hand-made sound effects into the scenes, whether through music or the simple ringing of a bell—a silly but standout gag where Scrooge’s clerk physically rings a bell to signify a doorbell every time someone enters or exits the office. The entire character of the Ghost of Christmas Yet-to-Come is produced through light and sound, with different cast members playing eerie noises on string instruments from different sides of the space, creating an all-encompassing, haunting effect.
Set pieces and props are moved and manipulated, for the most part, by the actors themselves, as well, creating many of the most visually stunning moments in the production. One particularly poignant example of this is produced during Scrooge’s journey through his past when the actors maneuver the set pieces into a stunning physical representation of Scrooge’s memory piecing itself together. As Scrooge and the Ghost of Christmas Past stand center, members of the ensemble enter pushing dollhouse-sized, fully lit structures of house and buildings on baby carriages and rustic wheelbarrows. Clearly meant to represent the village in which Scrooge grew up, these structures circle the two as Scrooge starts to recall exactly where in his past they are visiting, and the structures finally come to rest at their correct locations. It is moments like this that, when executed by Wise so thoughtfully, add an invigorating sense of magic and wonder to an already powerful story.
What’s more, this cast—which consists of not only seasoned adult actors but a handful of talented children, as well—does a fabulous job of creating a compelling and energetic dynamic on stage. Through their commitment to character and the story at hand, these actors are able to help audiences embrace the intimacy of the production by making the world of the show one which you can’t help but want to be a part of. And where so often it feels invasive when actors break the fourth wall, in this production what little fourth wall there is to be broken is done so with vigor and excitement, so that by the time the opportunity arises for audiences to get on stage and dance with the characters, patrons young and old are practically leaping from their seats to join in the fun. It is a because of the comfort and ease through which these actors tackle the telling of this story that audiences are able to enjoy this piece of theater for what it is, and leave having experienced Scrooge’s tale in an entirely new way.
Apart from their work as a full ensemble, Wise did a wonderful job of incorporating the personal skills of the performers into the show and using them to add dimension to the world in which this story unfolds.
Mesma Belsaré (The Ghost of Christmas Past), for example, has trained in dance in the classical medium in India and parlays that training into her portrayal of this role. She creates a character that communicates through not only speech but the movement that appears both very controlled and very fluid at the same time, a depiction of this role I had never seen before and yet one that rang true for this production and its use of non-typical storytelling devices.
The music incorporated in this production is another aspect that flourishes due to the talent in the ensemble. Cast members Eliza Rose Fichter and Caitlin Gjerdrum stand out specifically for their musicality, the former playing the fiddle and the latter singing in spots throughout the performance. The production’s Tiny Tim, played by an adorable Ben Choi-Harris, also uses his sweet singing voice to pull at audiences’ heartstrings, most significantly in the moment when Scrooge sees into the future and realizes that Tiny Tim has passed away due to lack of caring from people like himself. In this moment, Tiny Tim is standing a level above his family, illuminated in soft light and singing gently as the weight of the loss of this character sinks in. It is a powerful moment, made even more so by the Choi-Harris’ light vocals and sweet demeanor.
Other prominent acting moments in this production were brought forth by ensemble members Ramona Lisa Alexander (Marley et al.), Jesse Garlick (Bob Cratchit et al.), David Keohane (Nephew et al.), and Vincent Ernest Siders (Ghost of Christmas Present et al.),who round out some of the more character-driven roles in the show. Siders’ portrayal of the Ghost of Christmas Present strikes the perfect balance between lighthearted and all-knowing, while Alexander’s take on Marley’s Ghost is far more chilling than personable. Additionally, Garlick and Keohane are both able to showcase their versatility as actors in this production, switching seamlessly between performing a hysterical, coordinated dance together in one scene, to a heartfelt portrayal of family values in the next.
At the center of all these fabulous standout roles is Ken Cheeseman, who plays a unique and oddly charming version of Ebenezer Scrooge. In his hands, this iconic role becomes flushed out as a real person, with jaded and stubborn tendencies but also a huge capacity to learn and grow. The moments of humor he is able to incorporate into the character that has audiences invested in his journey from the moment he steps on stage, and really contribute to the overall immersive and welcoming tone of the production.
This production of “A Christmas Carol” at Central Square Theater provides a refreshing reminder of what can be done with a group of artists and a story to tell, and it is not one you are going to want to miss this holiday season.
“A Christmas Carol” runs through December 31st at Central Square Theater. For tickets visit www.centralsquaretheater.org or contact the Box Office at (617) 576-9278, Extension 1. Central Square Theater is located at 450 Massachusetts Avenue in Cambridge, MA.
- OnStage Boston Theatre Critic
‘A Christmas Carol’ was written by Charles Dickens in 1843 and has since become a holiday classic. It tells the story of Ebenezer Scrooge who is visited by three ghosts on Christmas Eve who remind him of his past, guide him through his present and show him his potential future. By the end of these visits, Scrooge finds himself permanently changed and vows to be a better man to those around him and keep the Spirit of Christmas alive all year long.
Over the years this story has been adapted into films, stage productions and more. Each year families will gather together to take in a production of this story, be it a film like ‘A Muppet Christmas Carol’ or a lavish stage production performed by a local theatre company. What makes MRT’s production stand-out amongst the rest is its simplistic approach to sharing this story as Charles Dickens himself would have shared it and allowing the audience the opportunity to focus on its message of hope, redemption, compassion and love.
Adapted by Tony Brown, this version gives us the story as told by author Charles Dickens in a similar fashion to how Dickens himself did public readings of the novella over the last eighteen years of his life before passing in 1870. What enriches this minimalistic production further is the performance of traditional carols by two musicians throughout. The choice by the creative team, led by director Megan Sandberg-Zakian, to include music in the telling of this well-known story was an inspired decision that I believe truly enhanced the performance. Music director Nathan Leigh selected songs that were around when Dickens was writing the story and was careful to include the lyrics of the time and not the revised versions that were written years later. So while the tunes were oftentimes familiar to audience members, many might not have noticed the lyrical differences which added another level of authenticity to this production.
Taking on the role of Charles Dickens and wonderfully bringing life to characters of this story, including the wealthy but tightfisted Ebenezer Scrooge, is stage veteran Joel Colodner. With his rich voice and charming persona, he grabs the audience’s attention within moments of stepping on stage and for the next two hours had us amused and chuckling one minute and pondering our own lives the next. His invested, emotional portrayal of Scrooge humanized a character who oftentimes can be viewed as just a cranky, stingy old man. Colodner brought new life to him and gave the audience a fresh perspective of this old story.
Also on stage were Rebecca White, one of the musicians who also portrayed the three ghosts, as well as Nathan Leigh the second musician and music director whose instrument selections for the carols were ingenious and completely fit within the story. Having seen this play performed with these two fantastic musicians, it makes me wonder if I would have liked it as much without them. And honestly, I don’t think the play would have had the same impact on the audience as it does with the added musicians.
The technical elements of this production nicely matched the tone of the play and made the audience feel as though we may be sitting in someone’s living room hearing this story told to us and singing carols during a holiday gathering. The scenic design was by Randall Parsons with lighting design by Devorah Kengmana. The costumes were designed by Miranda Kau Giurleo.
This production is unique from any other I have seen and it was refreshingly enjoyed by the audience who gave it a well-deserved standing ovation. © ‘A Christmas Carol’ plays at Merrimack Repertory Theatre, located at 50 East Merrimack Street Lowell, MA, until December 24th, 2017. Tickets range from $73-$26 with discounts available for groups, students, seniors, Lowell residents, and military service members. To purchase tickets or find more information visit www.mrt.org or call 978-654-4678.
Photo Credit: Rebecca White and Joel Colodner. Photo by Meghan Moore.
The holidays can be a busy time of year, but “She Loves Me” at Greater Boston Stage Company is the lighthearted, romantic musical comedy you’re going to want to make time for this season.
This Tony-Award winning show—with book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick—follows the story of two perfumery employees in Hungary during the 1930’s. Georg Nowack (Sam Simahk), is a senior clerk at Maraczek’s Perfumery and a bachelor who finds himself in love with an anonymous pen-pal. It is soon disclosed to the audience, however, that his pen pal is none other than Ms. Amalia Balash (Jennifer Ellis), an enthusiastic if not unreliable new clerk in his store. While their in-person relationship teeters between unpleasant and hostile as they work together, their romantic relationship unfolds behind the mask of lonely hearts letters, with neither character realizing it is the other with whom they are corresponding.
These themes of love and missed connections are common ones within romances, serving as the backdrop for hundreds of different stories on the screen, the stage, and even the pages of novels. Yet, when accompanied by the thoughtful vision of Director and Choreographer, Ilyse Robbins, and the enthusiastic performances of this character-driven cast, it’s easy for audiences to get lost in the journey as if for the first time.
Perhaps the most significant difference between Robbins’ “She Loves Me” and similar love stories of the past, is the incredibly relatable portrayal of the leading couple. Rather than caricatures of lovelorn women and suave but misunderstood bachelors, Ellis’ Amalia and Simahk’s Georg are depicted as real people with skills, friendships, and lives outside of their quest for love. What’s more, Ellis and Simahk do a stunning job of embracing their characters’ flaws and transforming imperfections like Amalia’s flakiness and Georg’s short temper into the types of endearing qualities that make us human. This in turn opens the characters up into people the audience can actually identify with, illustrating a story of love and mistaken identities that feels much more like a reality than a Hallmark movie.
Robbins also uses comedy expertly throughout the production, both in the blocking and the musical numbers, to add an entirely new and lighthearted layer to the story. The song “Where’s My Shoe?” for example—in which Amalia, having taken a heartsick day from work, is confronted by Georg for staying home—features Ellis stubbornly bumbling around her bedroom wearing only one high heel, and side stepping Georg and his attempts to get her to lay back down. This scene did a fantastic job of highlighting not only Ellis’ breathtaking soprano, but her extraordinary comedic timing and physicality, as well.
In another instance, the entire Ensemble portrays carolers and shoppers at Maraczek’s Perfumery in the days leading up to Christmas. Throughout the song, “Twelve Days to Christmas,” the carolers and shoppers run in and out of the store, their insanity and panic about getting the perfect last minute holiday present growing and growing as the days until Christmas dwindle down to one. This panic is reflected not only physically by the shoppers—who are left practically doubled over in shopping-induced exhaustion by the end of the song—but vocally, as their speed and intensity builds to an all-time high. Clever and well executed numbers like this add a wonderful energy to “She Loves Me,” something that often falls flat in contemporary performances of Golden Age musicals.
Alongside the occasions for laugh-out-loud moments like this, this script also provides many rare opportunities for the exploration and development of dynamic secondary characters. Tied into the narrative through their work at Maraczek’s Perfumery, these characters are given real chances to shine through witty dialogue, complex relationships, and solo musical numbers. And in the hands of the incredible supporting cast of this production, which includes many Boston favorites, these roles brought forth even more humor and heart than what is presumably written on the page.
Jared Trolio gives an outstanding performance as resident “player” in the perfumery Steven Kodaly, that one character that audiences can’t help but love to hate. In his rendition of “Ilona,” which he sings to fellow clerk and ex-lover, Ilona Ritter (Aimee Doherty) in an effort to get back into her good graces, Trolio sambas around the stage, successfully captivating both the audience and Ritter with his smooth voice, suave dance moves, and comedic use of Christmas decorations as tools in his seduction.
Subsequently, Doherty’s Ritter, a romantically forward woman, is developed to be an interesting foil to Ellis’ Amalia. Where Amalia faces feelings of insecurity in her quest of for love, Ilona definitely knows what she has to offer, despite being dragged along by the undeserving Kodaly. Doherty’s powerful “I Resolve,” leaves audiences truly rooting for her character to find the happiness she deserves, a testament to Doherty’s touching performance.
Rounding out the talented cast are perfumery owner, Mr. Maraczek (Tom Gleadow), sales clerk Ladislav Sipos (Robert Saoud), and delivery boy, Arpad Laszlo (Brendan Callahan), whose lopsided smile and boyish energy had audiences won over far before his sweet rendition of “Try Me” in Act Two.
Robbins also found creative ways to highlight the show’s immensely talented Ensemble in this production–which includes Sara Coombs, Sean Mitchell Crosley, Bransen Gates, Angelo McDonough, Jennifer Mischley, Sarajane Morse Mullins, and Kirsten Salpini—through moments of well executed comedy and movement. Especially for a production that could have easily excluded choreography for lack of space or plot advancement, Robbins found smart ways of integrating both formal dance and synchronized movement into the piece, using it not only in moments of transition, but as a way to help establish the tone in various scenes.
This tactic worked particularly well while establishing a scene in an upscale restaurant. As members of the cast skillfully manipulated Scenic Designer, Brynna Bloomfield’s beautiful perfumery set into a dining area—the backdrop for Georg and Amalia’s would-be first date—others in the Ensemble arrived on stage in formal evening gowns, evolving somehow seamlessly from a Horah-like dance into a gorgeous tango. Although only really a written as a transitionary piece, this choreography, coupled with Nick Sulfaro’s scene-stealing performance as the snarky Head Waiter, allowed the scene to develop into a living and breathing piece of theater within the larger show as a whole, only further emphasizing the intricate vision Robbins had for this production.
Truly the only complaint to be had after watching this story ramp up to the inevitable happy ending, is that after Georg and Amalia do share their first kiss, there’s simply no more story left to see. The lights go black, the audience begins to clap, and the characters on stage are replaced by actors, taking their final bow and enjoying a very well-earned applause.
It is a testament to Robbins’ direction that after two and a half hours of watching these characters’ lives unfold, audiences are still left wanting more. And although there is nothing more written after the happy ending, I know that I will soon be returning to Greater Boston Stage Company to experience the journey of “She Loves Me” from start to finish once again.
“She Loves Me” runs through December 23rd at Greater Boston Stage Company. For tickets visit www.greaterbostonstage.org or contact the Box Office at (781) 279-2200. Greater Boston Stage Company is located at 295 Main Street in Stoneham, MA. Photos: Maggie Hall