Joseph Harrison - Page 8

What happens if you take the upbeat and danceable pop music of a Swedish supergroup, place it in a beautiful sun-drenched setting, add in a dash of comedy, some athletic dancing, and a pinch of bright colors, and wrap it all in a simple, but entertaining, story? You get MAMMA MIA!, the hit musical featuring the music of ABBA,  which is the first musical offering in the 2019 Nutmeg Summer Series at the Connecticut Repertory Theatre (CRT) at the University of Connecticut. The CT Rep, once again under the artistic direction of Terrence Mann (who also serves as the director of this production), is offering MAMMA MIA! as one of only two shows this summer season (down from the typical three) in order to give more people the opportunity to see each production.

It never ceases to amaze me how prolific and creative the theatrical community is here in Connecticut. With 80 + theatrical companies (at my last count) in the state, you don't have to go far to take in some amazing theatre. From professional, equity houses to community theatres, the variety, and unique offerings from each company is truly amazing. And speaking of unique offerings, I had the pleasure of attending my first performance at The Arts at Angeloria's in Southington for their production of Larry Gelbart, Cy Coleman, and David Zippel's musical CITY OF ANGELS, which also served as the premiere production in their new 100-seat "Art Barn." For those familiar with the musical, you will know that this is not an easy show to mount, especially in a smaller theatrical space. But for the company who performed THE WHO'S TOMMY in their small 50-seat black box space, if anyone was up to it, they were. As for CITY OF ANGELS? It is a valiant attempt with some high points that mostly overshadow any challenges that come from the limitations of the space.

World premiere musicals don't come around every day, so when given the opportunity to be the first patrons to experience the thrill of a new show, I will always recommend you jump at that chance. Even better when the show is one like Hartford Stage's final production of the season, THE FLAMINGO KID, which also marks the final show for Darko Tresnjak, its award winning artistic director. THE FLAMINGO KID has a lot going for it - the aforementioned direction by Mr. Tresnjak, a score by Tony award winners Robert L. Freedman (Books and Lyrics) and Scott Frankel (Music), a familiar subject matter, a stellar cast, bright and energetic staging, and a story that is simply fun to watch. Suffice to say - THE FLAMINGO KID delivers on all of those in spades and is simply not one to miss.

What impact can one man who has lost the ability to speak have on those he encounters every day? If you are Ben, the central character in the new musical HI, MY NAME IS BEN, which opens this week at the Goodspeed's Norma Terris Theatre in Chester, CT the impact is greater than you might imagine.  I had the chance to sit down with the duo behind the show, book writer Scott Gilmour and composer and lyricist, Claire McKenzie who shared a little about their creative process, their journey writing the show, and how they work effectively together to bring a musical like HI, MY NAME IS BEN to life.

There are some musicals that simply epitomize the genre. You know the ones - the shows where you have lost count how many times you have seen them, either on Broadway, on tour, or at your local theatre. They are like a part of the family - the favorite uncle or aunt that you are happy to see whenever you are together. One of these shows for me is Meredith Willson's THE MUSIC MAN, the classic that serves as a near-perfect representation of American Musical Theatre. So, it is with excitement, and a bit of trepidation (how will this production fare with all the others in my memory?) that I went to see Goodspeed Musicals latest production. I am thrilled to say that the play feels as fresh as the day it premiered, is as lovely as the "bells on the hill" that feature in one of its most iconic songs, and serves as a brilliant opening to the new season at the Goodspeed Opera House.

What makes someone a true artist? Does it have to do with skill? Passion? A unique eye? Or is it about letting go of earthly things and embracing the traditions set forth by generations of artists before them? And what happens when the path to artistic enlightenment leads to a deep-seated conflict with one's values, religion, and family expectations? Such are the conflicts at the heart of Aaron Posner's MY NAME IS ASHER LEV, based on the book by Chaim Potok, which is now playing at Playhouse on Park in West Hartford, CT.

Summer 1993 was an eventful year for this reviewer. I had just graduated from High School and was preparing for the next chapter in my life - college in Athens, Georgia. Like so many young people before me and so many after, it was a time in between, one that was both thrilling and completely terrifying. But it was also the beginning of a journey of self-discovery and an opportunity to redefine who I was and who I would be as a newly minted adult. So, it was particularly poignant to see the newest production from TheaterWorks (performed at the Wadsworth due to their current remodel), the musical GIRLFRIEND, with a book by Todd Almond and music by 90's rocker, Matthew Sweet.  

Sometimes the best cure for a sour mood or a gray day is a bit of nonsense. Whether that is achieved by laughing at some absurd meme your friend posted on Twitter, a mindless show you binge watch on Netflix, or a podcast with a comedian you love - frivolity can take many forms. This is true even in the theatre. Take Hartford Stage's latest production of the Olivier Award winning JEEVES & WOOSTER IN "PERFECT NONSENSE" by the Goodale Brothers based on the works of P.G. Wodehouse. This production provides a theatrical escape from whatever ails you and provides audiences with a hilarious romp told by three actors with a penchant for sight gags, impressions, and a whole lot of whimsy.

Everyone loves going to the movies. The darkened theater, the anticipation of a dramatic/funny/thrilling/scary adventure, and the escapism that only a couple hours with a bucket of popcorn and a good film can bring. It is that feeling that comes to life in vivid color during REEL TO REAL, this year's annual production by stop/time dance theater at Playhouse on Park in West Hartford. Once again, founder/director Darlene Zoller and her fabulous troupe of performers show off their high energy moves, enthusiastic performances, and show stopping production numbers to make for a thoroughly entertaining evening.   

This week a 24/7 online Broadway music radio station - 'Sounds of Broadway' (www.SoundsofBroadway.com) - makes its debut. 'Sounds of Broadway' offers the most wide-ranging listing of music from the Off-Broadway, Broadway, and London stages. Thousands of songs from hundreds of cast recordings are in rotation, with dozens of new shows being added weekly.

n today's world, entertainment is all about personalization, customization, and influence. From television shows that allow you to choose the direction of the plot (e.g., BLACK MIRROR: BANDERSNATCH) to the numerous on demand books, podcasts, and films that are ready whenever the mood strikes, audiences today are used to having choices. But what about the theatre? How often does the gathered crowd have the opportunity to impact the outcome of the story unfolding in front of them? Well, with Connecticut Repertory Theatre's latest production THE MYSTERY OF EDWIN DROOD, Rupert Holmes' Tony Award winning musical, that happens every performance - making for a wild, wacky, and wonderful experience for everyone.

"Every revolution starts with a story, of who we are and who we can become." These words from Sarah Hartmann, the director of Playhouse on Park's current production of THE REVOLUTIONISTS perfectly illustrate the heart of Lauren Gunderson's play. By telling the stories of four iconic women who were brave enough to stand up during the Reign of Terror, one of the darkest moments in history, and fight for freedom and equality, THE REVOLUTIONISTS informs, excites, entertains, and most importantly, inspires.

It is always exciting when a beloved story from one's childhood receives new life on the stage. It is especially thrilling when it's a piece with such sweet potential as Roald Dahl's classic tale, CHARLIE AND THE CHOCOLATE FACTORY. With the original book, the classic Gene Wilder film (and other film adaptations) and recent London and Broadway musical productions setting the stage, this fun new musical will take the Bushnell stage in Hartford, CT from February 19 - 24.  Playing Augustus Gloop, one of the nasty children who finds a golden ticket to tour Willy Wonka's chocolate factory, will be Matt Wood, who sat down with me to talk about this entertaining, family-friendly show.

As the opening number 'Comedy Tonight' states, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, the classic musical from Burt Shevelove and Larry Gelbart, with music and lyrics by Stephen Sondheim, aims to have 'something familiar, something peculiar, and something for everyone.' And while, in 2019, this remains mostly true, the bawdy farce, written almost 57 years ago, does raise some eyebrows in today's #metoo world. That said, the production of FORUM currently being produced by the Opera House Players at the Enfield Annex (their temporary home in Enfield, CT) is fun, energetic and high-spirited.

What do you get when you mix together lively music, hilarious characters, stylized storytelling and murder? In A GENTLEMAN'S GUIDE TO LOVE AND MURDER, which is currently playing at the Warner Theatre in Torrington, what you get is pure theatrical magic.

Sequels are an interesting lot. For every one that turns out to be better than the original (e.g., Star Trek II: Wrath of Khan, Godfather, Part II) there are many more that just don't cut it. But that doesn't stop people from wanting to tell the next part of a familiar or popular tale. In theatre, we haven't seen the same volume of sequels as in popular film, and those that have been made have usually been met with lukewarm reaction. But sometimes there is just something about an unfinished story that causes writers to pick up the pen and put their own twist on a tale. Such is the case with A DOLL'S HOUSE, PART 2, Lucas Hnath's sequel to the groundbreaking classic 1879 play by Henrik Ibsen which is currently onstage at TheaterWorks in Hartford.

When a couple decides to wed, it is typically a joyous occasion. It's a moment in their lives worth celebrating with friends and family. Oftentimes, soon after comes an engagement party where gifts are presented, toasts are made, and everyone present celebrates the happy couple. At least that is what is supposed to happen. In Hartford Stage's presentation of the world premiere of Samuel Baum's play THE ENGAGEMENT PARTY, things begin in this typical fashion, but with one unexpected event, quickly devolve into a dramatic, captivating, and revealing evening that will change the lives of those present forever.

As the magic of the holidays drifts away, the lights are taken down and people settle in to the muted grays of January, having something fun, distracting, and entertaining to keep your mind off the cold weather and the dreary days can be a real find. Good news - MURDER FOR TWO, Playhouse on Park's current production, is just what the doctor ordered to fight the winter blahs. It is a funny, fast-paced, murder mystery with a few twists, and it starts 2019 off with a (literal) bang.

Christmas is a season of traditions. From the decorations that have their certain place on the mantel, to the cookies like grandma used to make, people thrive on the familiar during the holidays. This goes for films and TV specials as well. Who doesn't pause to see if George Bailey will save the savings and loan, if Ralphie will actually get his Red Ryder BB Gun, or if Rudolph will finally prove his red nose can do great things. No matter how many viewings, there is something about the characters of these beloved Christmas programs that feels familiar and right. But have you ever wondered what happened to these larger than life characters after their time in the red and green spotlight? These are the questions that TheaterWorks in Hartford hilariously tackles in CHRISTMAS ON THE ROCKS.

Every so often the musical theatre landscape experiences a swell of enthusiasm and excitement for a fresh, new and engaging play. Theatre fans (and casual viewers) alike can recall the hype when THE PHANTOM OF THE OPERA or LES MISERABLES first opened (and went on tour). More recently the WICKED phenomenon brought young and old alike out to experience the magic and electricity that only a live performance can elicit. Today, the show that everyone is talking about (and obsessing over) is Lin-Manuel Miranda's Tony winning musical HAMILTON. Like its popular predecessors, it has recently begun touring around the country - riding the wave of enthusiasm and further cementing its place as a true pop-culture phenomenon. But unlike its flashy, big budget predecessors, HAMILTON, in many ways, lives in its own category. It is a show that is modern, fresh, and that pushes boundaries and delivers in two and a half hours an experience unlike anything this reviewer has experienced before. I am thrilled to say, in the production that has now arrived at the Bushnell Center for the Performing Arts in Hartford, CT - HAMILTON shines brilliantly, delivering in every way (and beyond) on the hype that precedes it.