TOP TEN OF 2015

10. NEXT TO NORMAL
      Theatre with a Twist, Inc.

      My countdown would not be complete if it did not have an appearance from the Goodman Family. One of the many reasons for this is because the messages are still timely and important, Plus, there are several fresh ways to convey the story while remaining true to the original material.

     Such is the case with Theatre with a Twist's quietly powerful production where everything seemed more internal; ready to burst at any moment. Director Rudy Borkowski prevented anyone from bursting; keeping the audiences that much more alert.

     Caroline Kurman handled the intense role of Diana with dignity and restraint. There was not one moment when the audience could not be aware of or identify with her constant struggle. Allan Hunter's Dan was consistently sympathetic as the quiet voice that never gave up of his wife. His acting choices brought the character to another level of both suffering yet understanding.

     The entire cast and crew made beautiful use of the intimate space, and I can't wait to see what the company does next.




9. LA CAGE AUX FOLLES
    The Umbrella Community Arts Center

     This is another show that could become dated, but director Peyton Pugmire won't have it. His innovative vision made the show as current today as it was when it debuted in the 1980s.

     John Alzapiedi could possibly be the first actor to FINALLY portray Georges differently as the emcee and the character off the stage. Thank you, John! His role was full of depth and layers, and he performed naturally and effortlessly with Todd Yard as Albin. As Albin, Todd was full of humanity and pain under his mascara but knew when to soften things up with laughs. His "I Am What I Am" still gives me chills. We believed undoubtedly that these two men were in love with each other.

     The choreography and sets were beautiful as were the lighting.

     Kudos of course to les Cagelles who almost literally knocked down the house with their outstanding dancing and constant fun.

     So much progress has been made since the show's debut thanks to great productions like this one,
n'est pas?




8. INTIMATE APPAREL
    Lyric Stage Company

     Lynn Nottage's provocate and frank tale of a seamstress and her two relationships -- one via mail and in person -- wove an intimately powerful production by director Summer L. Williams.

     Esther's self-destructive relationship with her pen pal was balanced by the beautiful but devastating one with the shopkeeper. One relationship she should not have had; the other she could not have had.

     The costumer designer literally had their hands full between the gorgeous lingerie and the piles of fabric required for this production.

     Ultimately, the corsets became a metaphor for how restricted women's lives were back in the day. My, how times have changed. Oh, wait.




7. GUYS AND DOLLS
    The Longwood Players

     Director Kaitlyn Chantry's attention to detail and Choreographer Jason Hair-Winn's crisp, sharp movements drove this theatre classic with a contemporary, relevant flair.

     Fran Betlyon's Adelaide was thankfully less ditsy and more innocent -- yet not naive.

     Eric Fox's superb lighting design complemented Sandy Chantry's beautiful costumes.

     Too many names to mention, but all of the gamblers were superb, and the Hot Box Dancers were gorgeous to watch.

     Two elements to note. James Weeden's Nicely led the ensemble to the best "Rockin' The Boat" this pundit has ever seen. Hands down. Frank Walker as Arvide singing "More I Cannot Wish You" was also the most impressive delivery thanks to both his voice and the on-stage guitarist. Brilliant touch.

     Those of us in the audience were truly the lucky ones!




6. BILLY ELLIOT, THE MUSICAL
    North Shore Music Theatre

     Wow! Whoever doubted that large-scale musicals could not be represented well on a small stage and/or in-the-round probably missed this spectacular experience. Brooks Landegger (whom we saw) in the title role clearly has his career laid out for him, and he is all too humble to share his Gift with us.

     Not to be overlooked, however, is the young female ensemble who needs to be triple threats from start to finish and must coordinate themselves with the large male ensemble in the exhilarating "Solidarity."

     This was a brave, bold choice for the theatre and the payoff is clear.

     The professionalism and maturity from the younger members is not to be overlooked, and the adults matched them word for word; step for step.




5. SISTER ACT
    North Shore Music Theatre

     On par with the recent Broadway Tour, this is proof that one can take a successful movie series and successfully make the transfer to stage. Re-set in the gritty 1970s allowed the story to have more urgency and the subsequent messages stronger.

     The show would be nothing, however, if it weren't for the surprisingly beautiful score and amazing harmonies to complement it. By avoiding being overly sweet, this production was joyous and uplifting, and who can't use a bit of that every now and then?




4. DIXIE SWIM CLUB
    Majestic Theatre

     The only thing better than a script with four strong women (as usually seen on TV) is a script with five strong women played by even stronger actors.

     This play by Jones Hope Wooten focuses on a group of swim team friends who experience annual visits "away from" to catch up with each other to see how their lives are unfolding or unraveling.

     The thoughtful concept is well executed thanks of course to our fine ensemble who delivered the text with credible wit and acerbic humor.

     This heartbreakingly funny slice-of-life production made an impact on it audiences as truly good friends should, because life is not always spent in the shallow part of the pool.




3. KINKY BOOTS
    Broadway Across Boston

     Beneath the glitz and the glamour is an intelligent, well-told tale of acceptance both with one another and ourselves.

     This high-spirited production boasts a Tony- and Grammy-winning score by Cyndi Lauper. She writes economically but says so much.

     Kyle Taylor Parker as Lola was unafraid to perform the "club" numbers freely and openly but knew when to showcase the pain and suffering behind his facade.

     It is nice to see that this Tony Winner has become a contemporary hit. Not only are these boots made for strutting, but they are made for kicking butt!!




2. CASA VALENTINA
    SpeakEasy Stage Company

     Harvey Fierstein does not know how to pen a bad script, and SpeakEasy does not know how to do a bad production.

     Such is the case with this truth-based production of heterosexual men in the 1960s dressing up and behaving like women for weekends at a time.

     Director Scott Edmiston handled the physical transformations with grace and dignity but when the surprising homophobia erupted among the characters, the group of seasoned actors treated that with realness and honesty.

    Anchored by the indefatigable Thomas Derrah and Kerry A. Dowling, this all-star cast brought the audiences along for the roller-coaster ride of self-acceptance and self-deprecation; facing one's truths and facing society.

     One must be true to oneself in anyone's house.




1. DREAMGIRLS
    North Shore Music Theatre

      Something happened on the way back to the theatre at the beginning of the NSMT season. Someone realized that in addition to getting top-notch talent, there are other things that one can do with the space.

      Enter DREAMGIRLS which hit all of the right marks and moves from the very beginning. NSMT favorite Nick Kenkel raised the dance bar even higher when it came to directing and choreographing for the round. The audience did not just watch the show; they became an active member of it. Special note needs to be addressed to the scenic design and technical elements. There were several moments when the "stage" within the show moved so fluidly around the arena that hardly anyone noticed. Nothing was forced or deliberate.

     And of course, there were the meticulously detailed costumes and sick lighting that complemented the triple-threat cast through Act One so that the famous showstopper was less of a destination to wait for but more of an exclamation point at its arrival.

     The non-stop momentum propelled Act Two until the final number, and it was a shame that this experience was one night only.

     Great performances like this justify that dreams do come true.




Thank you for another great year of theatre!!
Scott



   
   

 

   

   




 



   

   

   

SISTER ACT @ NORTH SHORE MUSIC THEATRE

Based on the hit movie of the same name, SISTER ACT blesses its audiences with its uplifting energy and joyous music.

Director/Choreography Kevin Hill anchors the comedy with the right amount of grit and always maintains the show's integrity by never reaching for farce. For example, Hill controls the chase sequence so it is well-choreographed instead of chaotic.

Edgy Philadelphia in the late 1970s is the perfect backdrop providing the characters with enough urgency and drive. Jonathan Kirkland portrays Curtis with the proper balance of evil and seduction and is wonderfully backed by his cohorts.

Kyle Robert Carter is a joy to watch as Eddie and delivers a humorous yet heartfelt "I Could Be
That Guy."

The show, of course, would be nothing if it didn't have a strong female ensemble who can both sing badly well and then sing well beautifully. Under the musical direction of Andrew Bryan the voices and harmonies are inspiring.

Ellen Harvey as Mother Superior not only has a gorgeous voice but brings dramatic texture to her role. "Here Within These Walls" is deeply moving. Her relationship with Deloris Van Cartier is sincerely credible thanks to Jeannette Bayardelle's brilliant portrayal of the lead. She propels her character's arcs with effortless grace and has the vocal talents to back it all up.

The colorful costumes, stunning light and scenic designs are marvels to watch.

Kevin Hill knows how to make us laugh but is not afraid to allow the show to be reaffirming. Sometimes it's okay to follow a detour if it delivers us to where we need to be, and where you need to be is at North Shore Music Theatre enjoying SISTER ACT!

www.nsmt.org

"The Babysitter," the first in a Series by Paul McCarthy & Scott C. Forrest-Allen

(READER DISCRETION IS ADVISED.)

“The Babysitter”

by

Scott C. Forrest-Allen & Paul McCarthy

            I had always thought I knew what the meaning of “pitch-black” darkness was,

Amy thought to herself. That was until tonight. That was until just now. My digital watch

tells me it’s just after midnight. 

            I can’t see a damn thing.

 A moment ago, I tripped over something that felt like. . . if I had to describe what that “something” felt like, I’d probably have to compare it to what it is like to stumble over a small rock wrapped in a sponge. It is a more bothersome pain than an agonizing pain. If it weren’t for the annoying sensation currently in my ankle, I wouldn’t be able to tell if I were asleep or not.

It is too dark.

I’m not afraid of the dark, but I’m the type of clumsy girl that if there is something in my way, I will find a way to trip over it. If something is NOT in my way, I will find a way to trip over it.

As Amy began to massage her ankle, she tried to take in her surroundings, but she couldn’t because all she could see was black.

Black.

It was as if she were in a large container of black dust, and she was becoming a part of it. She tried her best to remain calm so that her eyes could adjust, but this was taking longer than usual. She felt as if she were inhaling black dust and that the dust was inhaling her.

Of all the rotten luck, she continued to herself, a simple babysitting job. Mum said “Don’t worry: I started babysitting when I was your age.” Then the ageless mother line: “You’ll do fine!” She grimaced to herself. Of course, things were a lot different when Mum was my age, when dinosaurs roamed.

Leave it to me to pick the one night this week when the power goes out. It was so beautiful all this week, and today we get a heat wave. Everyone was using their air conditioners and their fans, so the power went out.

When are my eyes going to adjust?

Well, I’m in the cellar now, and there is no light, and the wind blew the door shut, and I can’t see a thing.

Still no flashlight. Not that I would know where it is. The brats’ parents told me to look in the basement for the flashlight if there was a problem…who keeps a flashlight in their basement?

On all fours Amy began to make her way across the cold, damp basement floor. She realized the next best thing to do was to try to find her way back to the stairs and finish putting Bobby and Baby Carl to bed.

“They’re nice people,” Mum told me. “How do you know?” I asked her. “We just moved here two weeks ago!” Why did I have to take this babysitting job? Why did the lights go out? Why do I have to be clumsy? Why can’t my eyes adjust?

THUD.

Amy felt around and figured that she must have found the first step.

Joy! Finally! I can get out of here, put the brats to bed, and watch my movie!

Amy began her climb up the basement stairs. At one point, she tried to stand, felt for a banister to her right, but her arm felt nothing. No banister on these steps. Is that even legal? She felt around to her right and felt cold, hard stone mixed with something that must have been cement. She concluded this must be the wall and stayed close to it.

She quickly recalled that there must have been around eight – ten steps to the basement. This shouldn’t take too long. She felt around for the next step and with both hands and knees pressed herself up and continued in this fashion until she counted the ninth step. She breathed a sigh of relief.

I’d better stay on all fours to keep my balance. Here. This must be the tenth step. Oh, boy! The door must be…wait, another step, ok, I must’ve counted wrong; I’ll just keep climbing these stairs until I get to the door. 11. 12. How many steps are there? I could’ve have…13, 14…sworn there were only about 10.

15. 16.

Amy tried to feel around for the bottom of a door, but each time she did, she came upon another step.

17. 18. 19. 20.

Oh, this is crazy! How many…

STEP. 

What was that? Amy thought to herself. Unless her mind was playing tricks on her, which was likely as she over-analyzed everything, it sounded like a foot on the bottom step.

My mind. My mind…21, 22…playing tricks on me…23…there’s nothing…

STEP.

There it was again. By Amy’s guess they were on the second step.

“Bobby?” She quivered out loud. “Is that you?”

Silence.

A long period of silence.

“Bobby, if that’s you, say something.”

Silence.

Another long period of silence.

“Bobby, if this is your idea of a joke, I’m not laughing! This isn’t—“

STEP-STEP-STEP.

She now heard the footsteps in rapid succession.

These did not sound like the footsteps of a small child, even one playing a practical joke. A sick and cruel practical joke.

STEP.

Amy’s insides turned cold. She heard and felt herself breathing more heavily than before. The harder she tried to calm down, the more rapid her breathing became.

She needed to get out of that basement and upstairs RIGHT NOW!

STEP.

Oh, no! Where…24, 25.. where is that damn door?

STEP-STEP-STEP. 

On all fours Amy continued her climb…

STEP.

…until finally…she felt the bottom of the door. Amy quickly released a sigh of relief.

STEP.

With trembling hands, she felt her way…

STEP-STEP-STEP.

…up the door until she found the knob.

Locked.

As Amy’s breath quickened…

STEP.

…she began to hear…

STEP.

…something else.

STEP-STEP-STEP.

The footsteps were getting closer. She could feel them getting closer. She could feel each step echo in the pit of her stomach.

That was when she heard the scratching coming from the other side of the door.

STEP.

It’s the kids.

“Don’t worry, Bobby and Carl! I’m coming”

STEP.

Oh, my God, please! Why won’t this door open??

STEP-STEP-STEP.

Amy could feel someone breathing behind her, and made the entire of her back shrivel and cringe. She heard the Snickering behind her. Her skin shriveled and cringed.

That was when she heard banging – loud, repetitive banging – from the other side of the door. Amy shot back in response. She heard the Snickering again. She tried again to get the door open, but it wouldn’t budge.

“Don’t worry, Amy,” the Voice whispered slowly behind her, “the boys are alright.”

At the sound of the Voice, Amy lost her balance, let go of the door know and fell off the stairs to her right.

Screaming as she fell, she thought this would be the last thing she’d ever be doing.

That was when she landed on a hard, metallic surface. She felt as if all of her tensed muscles would break. Her momentum allowed her fall hard – back down on the cold, damp basement floor.

Trembling and quivering, Amy tried to assess her damages. She must have broken something, but she had no time or means to tend to her wounds. She felt dizzy and disoriented from her fall. As she tried to collect herself, her mind began again.

Where am I now? I need to get back to the stairs. Who was that behind me? How did he know my name? How am I sure it is a “he?”

Some part of Amy realized that the Voice sounded either like a man sounding like a woman, or a woman sounding like a man. Either way, she hated it. She hated it so much. If this were a practical joke, she’d never forgive those brats.

I’ll never forgive those bastards. I wish I were back in Algebra right now.  I wish I were at the movies seeing something funny. Something to make me laugh. Don’t cry, Amy. You’re being childish. You’re being a silly, little girl. But I want to cry. I want to cry so badly. So damn badly. I want out of the basement. I want out NOW! I want to be upstairs with the boys asleep, and I want to be watching my movie. I want to call my friends. I want to be with them right now. I want to call my Mum and tell her how much I hate her for forcing me to do this. It’s all her fault. It’s all her fault that I’m here. I want out. I want out RIGHT …

Through her tears, Amy could make out the Figure of a large person appear in the darkness. Amy inhaled a quick gasp.

I can’t speak. I can’t ask this…thing who they are and what they want? And what did I fall on? I hurt. I’m in pain. I think I cut myself.

The Figure just stood there, motionless, appearing to be staring in Amy’s direction. Amy realized that she probably would have been less scared had the Figure ran into the basement. Instead, it just moved into the space in front of her. And stared. It stared long and hard at Amy.

It was at this point when some light began to make its presence in the basement, largely due to the two small windows straight ahead near the ceiling. It was so dark outside. Had the windows been open, Amy might have heard the night sounds. Can she climb to the windows to escape? Can she get there with this Figure in the way?

With the small amount of light entering the basement, Amy could make out The Face. Sneering and snarling at her. Eyes piercing into her very soul. Amy released another gasp.

“Why are you so afraid, Amy?” the Figure demanded slowly and with a hushed sound. “You’ve hurt my feelings!” The Figure spoke in a slow, sinister, singsong manner. Amy hated it. She hated it so much. She tried to scream, but couldn’t.

Silence.

Another long period of silence.

As Amy was mustering up enough courage to ask the Figure something, it asked her, “Are you ready?”

The Figure then walked quickly past Amy, and Amy felt a small gust of wind as it did. If it weren’t for that, she probably would not have felt any air at all in that basement.

Amy heard a door open behind her.

Oh, my God! Oh, my God! Someone else is coming in!

“Just remember, Amy,” the Figure whispered in her direction, “this is OUR sport!”

SLAM!

She felt the door behind her slam shut.

She was left in empty darkness again.

Who else is here? Where did It go? Ready for what? What sport are you talking about?

As Amy began her crawl along the floor, she found it more and more difficult to remain calm. She began to have images in head about the boys.

She saw Bobby and Carl sleeping soundly in their room. Bobby in his bed, and Carl right next to him in his cradle.

Yes, yes, peaceful thoughts. Think happy thoughts. The boys are alright, and I am on my way back up there, and this whole thing will be over.

Amy’s vision added the Figure entering the room.

No! No, Amy! Stop! It is not in the room! The boys are safe!

Amy “saw” the Figure produce a chainsaw.

Amy, stop! Stop it RIGHT NOW!

She heard the chainsaw rip into action. She felt the rumbling of the chainsaw in the very pit of her stomach.

AMY, FOR GOD’S SAKE STOP!!

Amy saw the Figure raise the chainsaw and descend it upon the boys.

“STOOOOOP!” Amy screamed out loud.

Someone must have heard me. Someone has to be on their way. Bobby! Carl! Can you hear me?

“BOBBY! CARL!”

Nothing. Silence. She waited and hoped that one of the neighbors had heard her scream. They are on their way right now.

Amy “saw” the boys again.

Amy, please stop it! Please, oh, please don’t do this to yourself! The boys are alright! The boys are…

            In her mind she “saw” the boys sleeping soundly.

            She “saw” the Figure produce an axe.

            Amy! There’s no one up there! No one is harming the boys.

            A large axe.

            AMY, STOP IT!

            She “saw” the Figure raise the axe above its head. It swiftly lowered the axe toward the boys.

            “AMY! STOP! THE BOYS ARE ALRIGHT! THE BOYS ARE…”

            She “saw” the boys yet again.

            Oh, no!

            The worst thing, Amy realized to herself, if it weren’t for these visions, I wouldn’t be able to see anything at all!

            This time she could not see the Figure. All she could focus on were the boys’ faces looking at something. Their happy, smiling faces turned quickly into something else. They could see something that was frightening them. She saw it in their faces. She saw it in their eyes. They were trembling. They were both beginning to cry. They were both…

            THUD.

            Amy felt the bottom of the steps again and tried to sigh in relief, but she felt no relief. She wanted out. She needed to get out. She hadn’t even realized she was crawling along the floor all this tiem. She wanted to get to the boys. She needed to get to the boys.

            She thought she heard the sound of Bobby screeching from somewhere above her. Amy shuddered and tried desperately to hold back her tears. This was no ordinary scream. This was long. This was painful. This was the sound of something else. Something was happening to the boys.

            On all fours she began her ascend of the stairs as quickly as she could. She still could not recall that there were so many steps, but there was no time to count. There was no time to worry about that. She just needed to try the door again.

            To her shock, the door was slightly ajar.

            Now I think I can breathe a sigh of relief.

            Still battered and bruised, she pushed the door open and began her quest to the boys’ room.

            All of the lights in the house were still out, and all of the lights in the neighborhood were still out.   

            As she made her way through the house, she caught a glimpse of the front door.

            It was slightly ajar as well.

            Someone else broke into the house. Someone else made it into this house.

            Someone else is still in this house RIGHT NOW!

            No time to think about that. I have to find the boys.

            I hate my Mum. I can’t wait to see her again so I can tell her how much I hate her for getting me into this.

            Stop thinking about your mother right now. You will deal with her later. I need to find the boys!!

            Amy made it up the stairs and to the boys’ room.

            They were not there.

            There’s no time to search the house. They’re gone. I know it. It’s my fault. I’m a bad babysitter. I’m a bad person.

            Amy raced into the living room and picked up the phone and dialed 9-1-1.

            Answer! Please answer! What is taking you so…

            “Oh, help me! Please help, me!” Amy panicked into the receiver. As she was trying to explain her situation, she was interrupted.

            “I know where you are, you silly, little girl,” was the response on the other end of the phone.

            She knew that voice.

            It was the Voice.

            Amy tried to breathe but this time could not.  

            “You silly, little girl. The boys are downstairs. They’ve been downstairs in the basement all along!”

            OH MY GOD!! WHAT IS GOING ON??

            Before she hung up the phone, the Voice asked, “Are you ready?”

            Amy slammed down the phone and made it back to the basement stairs and back to the basement floor. She started yelling out,”BOBBY! CARL! WHERE ARE YOU? IT’S AMY! I’LL SAVE YOU! I’LL…”

            She felt the Hands on both of her shoulders. She had nothing left in her at this point. The Hands were surprisingly gentle on her shoulders, which upset her even more than had she been handled abruptly. The Hands were guiding her carefully backwards. Amy stumbled along, feeling too weak to fight back, until she felt her back against the wall.

            The Hands released.

            “Yes,” the Voice whispered, “she’s ready.”

            Ready?! Ready for what?! Please, oh, please let the lights come on! This was all one big practical joke. A sick and cruel practical joke.

            She found it impossible to breathe.

            The next thing Amy felt was a cold, sharp blade against her neck.

           

* * * * *

            Amy awoke suddeenly just as Bobby and Carl’s parents came home that hot summer night.

            It was a dream!! It was just some horrible nightmare!!

            The lights in the neighborhood were back on.  

            The boys were sleeping soundly in their beds.

 

Copyright 2006 Paul McCarthy & Scott C. Forrest-Allen

           

           

            

EVIL DEAD @ GHOST LIGHT THEATER

This pundit did not what to expect having never seen the movies but was put at ease during the opening number, complete with impressive portable car.

Kevin Tracy's sophisticated direction invites the audience to the party immediately. While the production will be scary-fun, we are informed that none of it is meant to be taken seriously. Yet, Tracy grounds the production with a sense of credibility permitting the subsequent camp to have places to go.

Joe Van Allen as Ash hams up the role perfectly with a blend of self-awareness and raw sexuality. Literally throwing himself into the part, he pulls off (if you'll pardon this expression) the demanding physicality effortlessly. As does Colin Allen as Scott who is equally paired with Van Allen. He knows how to control his character's over-the-top quirkiness while never going over-the-top.

Emily Eaton's charming portrayal of Shelly is refreshingly less stereotypical airhead and more sweetly innocent. Erin Fitzgerald is smooth and consistent as the grounded Linda. Samantha Hinds takes the role of Cheryl seriously which makes her interpretation so much fun. Her timing and delivery are appropriately hysterical.

The rest of the cast rounds out the ensemble with equal caliber.

Karen's Webb's costume design offers the audience a sense of time and place with color palates and individual styles matching the unique personalities. Her trees in the woods are a marvel to be seen.

Musical Director Eric Johnson succeeds at providing the right amount of spookiness and fun to the complex score.

Bartlett Doty and Tracy's set design is solid, as is the intricate lighting design by Tracy and Webster Marsh. The technical challenges are successfully met, especially the splatter factor, which is done with professional precision and ease.

Sarah Devine's choreography is fun to watch, and everyone looks like they're having a great time, in spite of the goings-on in the woods.

While this show may not be for everyone, if you dare visit The Shea Theater, you will have a ghostly good time!


http://ghostlightmass.org

KINKY BOOTS @ THE OPERA HOUSE

Broadway's Tony-winning hit parades into Boston with a high-spirited good time.

Based on a true story and movie of the same name, it is comforting to see that a friendship between a straight dude and a drag queen is becoming mainstream. This is due to the well-structured book and impressive set design, most notably in the fight sequence. The costumes and choreography are as bright and fun as a summer afternoon.

Lola is played with effortless confidence by Kyle Taylor Parker, and the handsome Steven Booth brings a sincere vulnerability to his character finding his own self-awareness.

Lindsay Nicole Chambers is the delightfully insecure Lauren who practically stops the show with her rendition of "The History of Wrong Guys."

Then we have the Tony- and Grammy-Award winning score by Cyndi Lauper, whose songs are refreshingly conservative but exuberant, balancing the show's effervescence. She can convey her messages effectively in one song rather than five of them and four reprises. Plus, she offers each character their own voice to their numbers. Charlie's songs cannot be sung by Lola, and his can not be sung by Lauren, and so on. Cyndi can raise the roof with "Sex Is In The Heel" but portray the pain behind the pumps in "Hold Me In Your Heart." The acoustic-driven "Take What You Got" is properly balanced by the piano-flavored "Not My Father's Son." She also has the ability to slip in some wordplay that almost goes unnoticed, such as "First Step" and "Soul of a Man." It is intended as a compliment to note that this is not a collection of Cyndi Lauper songs on stage. Cyndi has created an original Broadway Score.

The self-accepting message of the piece is clear but never feels redundant. It just is.

GO GO's GREATEST!

5. "Head Over Heels"

Back in 1984, the band announced that they would return with a harder sound. In today's terminology, they would be in danger of "jumping the shark," but the Go-Go's are smarter than that. They simply showcased what had been bubbling in them all along in this catchy, vibrant tune that was the lead single from their third release TALK SHOW. This song is definitely edgier, the guitars were razor-sharp, and it peaked at #11.

4. "Vacation"

The Go-Go's have never strayed from irony, and this first single from their sophomore album was proof. It has become an annual summer anthem, despite the fact it really has nothing to do with a traditional vacation. The "vacation" here is time away from a boyfriend. Set against a bouncy beat, Belinda Carlisle sings of regretting her decision, and this solid song peaked at #8 like its album.

3. "Our Lips Are Sealed"

As cliched as it sounds, here is the song that started it all. A perfect blend of pop and sass, the girls had announced their arrival. Writing their own material and playing their own instruments, they let us know that this girl band would not sing of broken hearts and waiting around for their handsome prince. They would be the ones doing the heart-breaking and would rock strong doing it. Belinda's vocals are perfectly feminine but with an edge. Although their debut single peaked at a humble #20, they still managed to kick down the door of the boys' club.

2. "Worlds Away"

Even though this overlooked gem is the antithesis of the band's hard-rocking exterior, we get a glimpse of what is underneath in this rare ballad. As the title suggests, this is a longing for a simpler, easier life which is more relevant now than ever. Instead of becoming a pity party, the girls keep their edge with concrete lyrics "slip into bed, the sheets are cold and smooth/my tension melts to a quiet warm." By the time the song reaches its crescendo, nothing is resolved, as in real life.

1. "We Got The Beat"

The second single from their debut album BEAUTY AND THE BEAT is less of a party song and more of an exclamation of their arrival. Peaking at #2, the song demonstrates the strengths of the band, including the complex guitar riffs, solid songwriting, Belinda's don't-mess-with-me Soprano, and Gina Shock, who can play the drums better than the best of them. The tune is rare in that it starts off strong but still manages to build until it reaches its delirious climax. Blended with an early 1980s pop and a 1960s sensibility, the girls prove that they still got it!

SATURDAY NIGHT FEVER @ NSMT

Director Richard Stafford understands that Saturday Night Fever is not a traditional book musical, and he knows how to balance the repressed daily lives of the characters with the dynamic dancing in the club.

His direction never hides the grit and turmoil of the era, making the contrasting disco moves that much more exuberant.

The entire ensemble is perfectly cast, especially  the smart and sexy Sam Wolf as Tony and the beautiful and clever Tessa Grady as Stephanie. Her accent never strays, even when singing!

Making a name for himself at the theatre, Nick Kenkel's choreography is nothing shy of dynamic. He recognizes that the dancers are there to both hide from their daily lives and to be noticed by everyone and anyone.

Haley Swindel as Candy, the singer in the club, has a gorgeous voice and legs to match. She is paired with Pat McRoberts with an equally impressive voice, and he is a fun DJ to watch.

The set is beautifully constructed, including the bridge that becomes another character - both significantly and symbolically - in the play.

When the lights come up on this incredible production, there is reason to dance!

nsmt.org

Random Thought 94

Stop watering things in your life that were not meant to grow.

- Mike Cutz Saki

Random Thought 93

The word "routine" contains the word "rut,"

and the world "challenge" contains the word "change."

Random Thought 92

When you come out the light,

the light might be the same,

but it will feel much brighter.

Random Thought 91

You can not change the way other people act and react.

You can only change the way you act and react,

and sometimes that means doing neither.

Random Thought 90

When you come out of the dark, the light might be the same,
but it will feel might brighter.