Nuncrackers @ Theatre Company of Saugus

This harmlessly fun series has always been deliciously innocuous. Director Becky Rush knows how to find the leverage in the material to anchor the show in true human emotions so that the humor comes from someplace real and the tender moments shine through while maintaining the evening's light atmosphere.

The talent on stage is second to none, and this is evident upon arrival. The cast members engage in conversation to the patrons in the cabaret-style setting to make us feel welcome and part of the show.

When performer Steve Russo isn't making us laugh non-stop during his cooking monologue, he is warming our hearts with his preceding ballad.

The women in the ensemble work extremely well together as evident by their spot-on harmonies. Their individual personalities and characters ( too many to mention at the risk of spoiler alerts ) are consistent and credible.

The children's ensemble brings additional joy to the show, especially with the impressive dancing during the ballet.

Audio enhancement for the puppet will make her number even stronger.

Making us laugh and smile until it hurts is a good thing. Doing it while reminding us what the season is all about is a true gift.


tcsaugus.org

A...My Name is Alice with the Wellesley Players

Director Celia Couture has created a wonderful evening with A...MY NAME IS ALICE, an empowering look at women.

The evening is off to a great start with the clever, colorful set that is as youthful as it is mature. The incredible ensemble of eight takes us through every step of a woman's life with vignettes both serious and hilarious and musical numbers that segue in and out of each other with ease and grace.

All of the songs are important statements of self-awareness, and musical director Art Finstein allows the talented chanteuses to deliver their messages with subtle charm. The band of musicians is rock solid.

Dance Captain Kelly Murphy has established fun, innovative movements that are impressively liberating in a black box.

The lone source of testosterone, David Kimmelman, blends in with this female counterparts. He provides perfect male images for them to work with.

This revue will make you laugh, and it will make you think. It might make you cry, and it might make you reflect.

It should also make you realize that "A" is for "appreciation."


http://www.wellesleyplayers.org

Random Thought 89

There is a difference between putting up with something and tolerating it.

Les Miserables @ NSMT

There are many reasons why Les Miserables has been resonating with its audiences since 1987, and Marc Robin's brilliantly intense direction reminds us why. He brings to life all of the guts and turmoils these characters endure, and we travel the journey with them and appreciate their resistance to give up. Never allowing the drama to overtake the story, Robin keeps the momentum going at a breathless pace.

All of the personalities are fully realized and richly developed; almost too many to mention. Will Ray's Jean Valjean is deep and complex, and his "Bring Him Home" is quietly devastating. Danny Rothman as Javert and his powerhouse of a voice light up "Stars" as never heard before. The vocal talents of Siri Howard (Cosette) and Daniella Dalla (Fantine) are as beautiful as the actresses are. Gary Troy and Tregoney Shephard as Monsieur Thenardier and Madam Thenardier do not play "Master of the House" for laughs, but this works as it further accents the tragedy of their situation. Fortunately, Gavin Swartz creates the perfect blend of spunk and childlike innocence to the role of Gavroche. Handsome Blak Stadnik anchors this world's confusion with his own self-conflicts, and his rendition of "Empty Chairs" along with some clever staging can break anyone.

The lighting design by Dan Efros is just about as spectacular as it gets. His complex patterns of spotlights and shadows create dramatic, emotional texture, and his somber moods are consistently thrilling.

Music Director Andrew Bryan knows how to bring forth some dazzling harmonies. His understanding of the score is evident from the very first note, and the vocals we hear are a gift.

The costumes (Kurt Alger) and scenic design (Bert Scott) complete this epic piece.

Les Miz has never been known for being a feel-good musical, but we can feel great after experiencing this masterpiece of a production.


www.nsmt.org  (978) 232-7200

Random Thought 88

People do not make mistakes on purpose, which is why they are called "mistakes."

Forgive.

Young Frankenstein @ Exit 7 Players

   

     Inside the intimate and beautiful Exit 7 Theatre in Ludlow MA, the company bringing to life an energetic and professional production of Young Frankenstein by Mel Brooks.

     Initially, one is impressed by the level of talent on stage, led by Ben Ashley as Dr. Frederick Frankenstein. It's a physically demanding role that Ashley accepts effortlessly. When he isn't offering us his many humorous facial reactions, he is dancing across the stage with both ease and comfort. He and Brian Freeman as Igor complement each other's comic timing quite well. Freeman provides emotional depth to his character, strengthening his physical comedy.

     Attractive Megan Hoy is also hilarious and comfortable with Inga's bawdy humor. The projections used in her "Roll In The Hay" number are clever and inventive. Projections can make or break a production, but those utilized in this performance are both subtle and effective. Becca Green-Van Horn's dry delivery as Frau Blucher continues the laughs. One comment -- when she plays the violin, please, let us hear sounds coming from it.

     Choreographers Alison Hackworth Forance and Stacy Ashley wow the audiences in "Transylvania Mania" and electrify the stage in "Puttin' On The Ritz," beginning with the Monster's shadow dance portrayed by the impressive Joshua Osborne. The non-stop precise tapping in "Ritz" is jaw dropping.

     Costumes by Karen Webb display impeccable attention to detail, specifically Frau's dark, angular dress vs. Inga's soft, flowing wear. Her consistent and appropriate color palates throughout the show do not go unnoticed.

     The sets are admirable with their working lights, gadgets, moving pieces, and steam. Kudos to the team for making the revolving bookcase work so well.

     Please note, however, that when one is on a gurney, he should wear briefs under his boxers.

     Extra applause is offered to the cast and crew for handling a difficult situation the night of this viewing. A medical emergency during intermission forced director Chris McKenzie Willenbrock to make a last-minute decision that resulted in forgoing one scene. The actors handled this change to the point where one wondered if this scene were ever in the show in the first place. One or two cast members arrived slightly late, but covered so it looked deliberate. Here's hoping a speedy recovery to the cast member!

     With a polished and professional production, Exit 7 makes sure that Young Frankenstein never gets old.


http://www.exit7players.org

Fleetwood Mac Top 10

10. PETER GREEN'S FLEETWOOD MAC (1968)

Here it is! This is the album that started it all and established the foundation for many more great things to come! The combination of Mick Fleetwood on drums and John McVie on bass is heard here for the first time, but the album belongs to founder Peter Green. Creator of the famous blues band, the down-and-dirty, raw-and-real songs are as enjoyable now as they were many years ago. Sharing lead vocals and songwriting credit is Jeremy Spencer. A perfect mix of covers and original material, it is fun listening to how it all began.

Standouts include "Shake Your Moneymaker" and "I Loved Another Woman."

9. TIME (1995)

There are some things that you need to know about this album. Bekka Bramlett replaces Stevie Nicks but does not attempt to imitate her. Dave Mason replaces Rick Vito and fits in quite nicely. You might remember or recognize his solo hit "We Just Disagree." 

Additionally, this album is not as bad as you think it will be. Nor is it as bad as you want it to be.

Anchored by some of Christine McVie's fresher, more honest work, she bookends her songs with a longing to to get away from the hectic pace of her then current life in "Hollywood (Some Other Kind of Town)" and her prophetic yearn to get away from it all in "All Over Again."

Bekka makes her contributions with her own style combining a powerhouse of a voice complemented by some tender lyrics in "Winds of Change" and "Dreamin' the Dream."

Billy Burnett continues to add fun country flavor to the mix with "Talkin' to My Heart." Dave demonstrates the harder side of FM with "Blow by Blow."

John McVie is still playing the bass better than the best of them!

Perhaps the biggest and most satisfying surprise is Mick Fleetwood's "These Strange Times," a poignant masterpiece that covers everything from missing the good old days, self-awareness, redemption, and Spirituality. It is a haunting and intense piece that closes the album, but one cannot help but be moved by his candor. 

Even though the group hit rocky terrain at the time of its release, it justifies that they have always and will always stand the test of time.

Standouts include "I Do" and "Sooner or Later."

8. TANGO IN THE NIGHT (1987)

If there were ever a Rumours II, it would have been Tango. The reason is because the band is able to capture the essence of the 1980s in their music while re-creating the alluring tension of its predecessor. The main songwriters are in top form, and they know how to open an album! We begin with Lindsey's "Big Love," Stevie's "Seven Wonders," and Christine's "Everywhere." All  songs scored well on the charts due to their pop sensibility and musical craftsmanship.

Lindsey explores balancing a quiet verse with an explosive chorus in the title track, a technique he will continue to have fun with in songs to come. "Little Lies" is truly one of Christine's best as she brings out the best in her band mates. Stevie is back again with the openly candid "When I See You Again." 

You can't disguise the talent in this quintet.

Standouts include "Isn't It Midnight" and "Mystified."

7. FUTURE GAMES (1971)

This is probably the mellowest of all Fleetwood Mac albums, and it can ease away your tension. Just give it a listen, and you will know. At the core is John and Mick per usual, and they are joined by Danny Kirwan who continues to contribute atmospheric melodies such as the opener "Woman of 1000 Years." 

Bob Welch makes his official appearance as a member of the Mac, exploring the world of the unknown, most notably in the title track. It is a haunting and melodic tune, and despite its length, goes by all too quickly.

Christine McVie also receives credit as officially being part of the band, although she has performed with them on prior releases. Her debut "Morning Rain" is indicative of her ethereal music complemented by that honey-coated voice of hers.

"What A Shame" is one of several impressive FM instrumentals, and is kind of an inside joke. Just over two minutes, the band recorded it for the record company who had claimed they would not release an album with only seven songs on it.

While the future of Fleetwood Mac would become uncertain, they always have fun playing games.

Standouts include "Sands of Time" and "Show Me A Smile."

6. BARE TREES (1972)

This is a beautiful collection of early 1970s soft rock that is anchored in the blues. With lush, melodic scores and distinctive, haunting melodies, the band hits the mark yet again.

"Some Kind Of Heaven" demonstrates the strength behind the group's instrumentals. 

It is easy to hear why "Spare Me A Little Of Your Love" has become one of Christine's early favorites. 

The big solo hit for Bob Welch "Sentimental Lady" is heard here for the first time, backed by Christine's vocals.

The title track and "Child of Mine" contain some of the group's stronger guitar riffs and the drive that their songs have.

"Thoughts On A Grey Day" is a sweet, tender way to close this thematically consistent album. 

Even though some of the songs might lean towards a pop flavor, Fleetwood Mac knows how to remain true to their roots.

Standouts include "The Ghost" and "Homeward Bound."

HONORABLE MENTION.

THE DANCE (1997)

Before I continue (and just for the record), please note that I am focusing on studio releases for my countdown. Regretfully, this will negate such recordings as live releases and compilations.

However,

when a live album is as stellar as THE DANCE, one does have to stand up and take notice. Billed less as "Greatest Hits Live," it is more "Old Meets New." The group is reunited and regrouped, and they are recharged and refreshed. Arguably, they have never sounded better.

All of at least most of the tension that had made them overwrought twenty years prior has been released, and there is a definite relaxed atmosphere. For the first time, they can re-play and re-imagine their songs and not worry about the drama behind them. Christine announces the "new twist on an old song" for the banjo-flavored "Say You Love Me." Stevie slows down the tempo to make "Landslide" more powerful and relevant. Even Lindsey gets to enjoy himself in "Big Love," pared down to but his guitar.

It is so much fun hearing the USC Trojan Marching Band in "Tusk" and "Don't Stop." No one will forget how the piano introduction strengthens the already powerful "Rhiannon."

This is the album that made the long overdue "Silver Springs" a household name and earned them a Grammy nomination for it. The song "The Chain" and the album itself were also nominated, proving they are a force to be reckoned with. The new material also fits naturally in their catalog.

Dance on!

Standouts include "Temporary One" and "Sweet Girl.

5. TUSK (1979)

Brave and bold, dark and daring. TUSK is everything that it should have been at the time,

but nothing the public was prepared for.

This album truly demonstrates the strength of the songwriting team and how well they work together. Lindsey's contributions are unique and personal such as "Not That Funny" and "I Know I'm Not Wrong." In addition to having fun with his guitar, he is experimenting with some funky percussion here. It shows that the group is not afraid to stray away from convention.

Stevie allows her intimate, emotional side to shine through with the candid ballads "Beautiful Child" and "Storms." The former showcases Christine's piano while the latter highlights Lindsey's guitar work, and both let us know how vulnerable Stevie can be.

With her blues background, Christine lets us know she can be feisty in "Think About Me" and produce album-oriented rock in "Over and Over," the opener. I have always found this quiet song a courageous choice to launch a double-album.

In addition to "Think," the albums' Top Ten singles include Stevie's classic "Sara," and Lindsey's classic "Tusk" complete with USC marching band. The album runs the spectrum of song styles, but that is why they succeed, over and over.

Standouts include "Angel," "Brown Eyes," and "Walk A Thin Line."

4. KILN HOUSE (1970)

When Peter Green hands the baton to Mick, John, Danny, and Jeremy, they know how run with it and work together. Still faithful to their roots, this is one of the more consistent albums as the songwriters know how to make their talents blend together nicely.

Danny contributes another winning instrumental with "Earl Gray." He also has fun writing with John and Mick to create the funky "Jewel-Eyed Judy."

Jeremy plays homage to the 1950's in "This is the Rock" and "One Together." His is a soothing voice that also harkens back to the days of yore.

And, yes, your ears deceive you not. That is the one and only Christine McVie receiving credit for her backing vocals and piano. This is clearly a good sign of great things to come. She is heard for the first time during the folksy "Station Man."

When you hear this collection, you will want to move in. 

Standouts include "Tell Me All The Things You Do" and "Hi Ho Silver."

3. THEN PLAY ON (1969)

Here is the album that officially launches Fleetwood Mac into a polished, stylized blues band with Peter, Danny, John, Mick, and Jeremy. They definitely find their groove here and have so much fun in the process.

Danny's mellow approach to soulful, thoughtful songs such as "Coming Your Way" and "When You Say" are perfectly balanced by Peter's harder edge. This can be found in "Rattlesnake Shake" and "Showbiz Blues," one of the most electric, spontaneous tracks on the album.

Instrumentals are still part of the band's strength, and the boys enjoy some inside humor with John's "Searching for Madge" and Mick's "Fighting for Madge."

The CD includes Peter Green's masterpiece "Oh Well" in all of its eight-minute glory. The first half is raw and raucous, and is counterbalanced by the latter portion with its lonely guitar and lonelier flute. Somehow it all works. The boys are in great form.

Standouts include ""Although the Sun is Shining" and "Before the Beginning."

2. FLEETWOOD MAC (1975)

If there were ever justification that endurance and perseverance pay off, it is in the revamped and re-energized line-up that is Fleetwood Mac in the mid 1970s. When Mick and John went looking for a new frontman/guitarist, they got more than he could have ever imagined.

With Lindsey Buckingham came Stevie Nicks. Both have proven to be powerful singers and songwriters that magically fit in with the rest of the gang. Lindsey can not only play a mean guitar, but his songwriting talents of the lonely "I'm So Afraid" and upbeat Monday Morning" both fold in quite nicely. 

I read somewhere that when asked to join the band, Stevie went out and purchased all of the previous FM recordings to see what she could bring to the party. Her symbolic songwriting and unique alto are perfect fits. You might have heard the non-stoppable "Rhiannon" once or twice on the radio, and her self-reflective acoustic "Landslide" is now more relevant and important than ever.

Staying true to the band's and her own original formula, Christine has the sweetly soft "Warm Ways" and the fun little ditty "Sugar Daddy." Hers was the first song to reach the Top 40 (#20 to be exact) with "Over My Head", and "Say You Love Me" (#11) is still a show-stopper. "Rhiannon" also peaked at #11 on the Billboard Singles Chart. The two diverse songwriting and vocal talents of Christine and Lindsey combine perfectly on the spunky "World Turning."

Turning the world is just the beginning.

Standouts include "Crystal," and "Blue Letter"

1. RUMOURS (1977)

It is hardly a secret that Rumours was born out of the internal turmoil within Fleetwood Mac. Although it is true that from suffering can come great art, the fact remains that the strength of this album relies on the indefatigable talents of the strong, independent artists that are Mick, John, Christine, Stevie, and Lindsey.

Ironically, this self-expression of anguish sounds upbeat and lively on some of the tracks, but that is how we work through it. Some listeners feel that the music has strayed from the band's original concept, but that is not entirely true.

Take Christine's "Oh Daddy" for example. In addition to being a melodically beautiful homage to Mick, musically it is reminiscent of the blues/folk sound they had created in the early part of the decade. Her gorgeous piano-driven "Songbird" reminds one of her famous ballads of yesterday. However, being the mature professional she is, Christine is hardly afraid to create contemporary classics such as "Don't Stop" (which reached #3 on the Billboard Singles Chart) and "You Make Loving Fun" (#9).

Lindsey continues the tradition of lead guitarist, and he more then demonstrates what he can do with the strings on "Second Hand News" and "Never Going Back Again." His explosive "Go Your Own Way" (#10) shows he can rock the house as well.

Fleetwood Mac has never been a stranger to singing about the unknown, and Stevie does it better than the best of them in the haunting "Gold Dust Woman" and the melancholy "Dreams" (#1). Her sunshine-inspired "I Don't Want To Know" offers what else she can do. This album is so good, that there wasn't any room for "Silver Springs," which appeared on the flip side to "Go Your Own Way."

Penned by all members, "The Chain" has become a symbol of Fleetwood Mac and their impressive longevity. Rumours has sold more than 19 million copies in the US according to the Recording Industry Association of America. 

What almost tore Fleetwood Mac apart only brought them closer together.

When the rain washes you clean, you'll know.

Standouts include "Second Hand News," "Dreams," "Never Going Back Again," "Don't Stop," "Songbird," "The Chain," "You Make Loving Fun," "I Don't Want To Know," "Oh Daddy," and "Gold Dust Woman."

Blondie's Top 10

For more information visit www.blondie.net


10. "The Tide Is High"
      (Autoamerican, 1980)
 
      At this point in the band's career, they have already proven that they could cover anything from punk to disco; from rock to ballads. Now it is time to explore Reggae with their low-key, accessible cover of The Paragons's 1967 classic penned by John Holt. What could have been a radical departure from their image only strengthens their musical integrity by including another style to the mix. The tune rode the wave to #1 as the lyrics suggest.

9. "X Offender"
    (Blondie, 1976)

     Blondie has never shied away from irony or controversy, and their naughty debut single establishes just that. The original title needed to be changed for better marketing, and the tune is a delicious combination of mid-1970s punk and 1950s flavor. Debbie sings of a dangerous love with unapologetic confidence. The band is having fun playing Gary Valentine's song, and it's a sure sign of things to come.

8. "Picture This"
    (Parallel Lines, 1978)

    Jimmy Destri's surreal but concrete approach to music is perfectly matched with Chris Stein's  pop/rock sensibility. Debbie Harry's dreamlike verses are balanced nicely with her wake up during the chorus. Becoming both a gentle and intense yearning for simple things like a "telephone number" or "freezing cold weather," this gem cements why its album became the breakthrough it is. It is both a UK hit and fan favorite in the US.

7. "In the Flesh"

    (Blondie, 1976)

     Leave it to Debbie to perform a love ballad with a sneer and make it work! The song is attitude ("Hands off this one sweetie/This boy is mine") meets candid emotion ("I couldn't resist you/I'm not deaf, dumb, and blind"). Debbie and Chris know how to make the title less provocative and more sensual. With quiet beauty and sensitivity this rare slow tune is both "warm and soft" and "close and hot."

6. "One Way or Another"

     (Parallel Lines, 1978)

     Frank Infante's razor-sharp guitar introduction sets the scene, and the song immediately kicks into full gear as Debbie sings with a purpose. Perhaps less singing and more biting is accurate. This tale of obsession has an intense momentum and drive that runs on all cylinders. Debbie deals with topics that female rock stars didn't deal with back in the day -- or today for that matter. She does so with such confidence and attitude that we know right away that it is she who is in control of the situation. A perfect, strong message for women (and men) everywhere. Watch out! She's gonna getcha!

5. "Dreaming"

     (Eat to the Beat, 1979)

     With its pump-and-go rhythm and Clem Burke rocking it on the drums, this is the perfect showcase why the group is a force to be reckoned with. Debbie can effortlessly handle the high notes and then gradually slide down the scale like nobody's business. Burke's intricate percussion solidifies his unique contribution to the band. The first single off their fourth album will continue their popularity. Part new wave and part pop, the song has a flow and ease as suggested by its title. 

4. "Maria"

     (No Exit, 1999)

     Blondie's triumphant comeback proves that not only are they current but they can remain true to their original sound. Jimmy Destri's imagery ("smooth as silk; cool as air"/"won't come in from the rain; she's oceans running down the drain") is his best work. Debbie's vocals are so fluid and seductive, especially when she opens up for the chorus. The band isn't afraid to suggest spirituality, and the results have been heard around the world. Literally. When fans hear this song, it is easy to go insane and out of your mind!

3. "Call Me"

     (American Gigolo Soundtrack, 1980)

     Debbie Harry and Giorgio Moroder's driving tune about, well, a man's certain profession propelled the band to #1. And with good reason. Debbie's intense lyrics are as intimate as they are seductive ("roll me in designer sheets/I'll never get enough"). There is also the right amount of urgency and loneliness ("call me any, anytime/call me for your lover's lover's alibi"). Moroder's crisp, crystal-clear production also assists in the single's success. It isn't any secret what this man does for a living, and it helped at the box office for AMERICAN GIGOLO starring Richard Gere. Nominated for a Grammy for Best Rock Performance by a Duo or Group with Vocals, the song remains one of Blondie's most impressive and long-lasting hits. 

2. "Rapture"

     (Autoamerican, 1980)

     Clearly, Blondie has never paid attention to the phrase "comfort zone," and we fans couldn't be happier. As a result, we have this deliciously dark but intriguingly adventurous opus introducing Mainstream America to the genre of Rap, a new style of music back in the day. Destroying all barriers and walls along the way, writing team Debbie Harry and Chris Stein offer us seductively unique lyrics ("toe to toe/dancing very close/body breathing/almost comatose") which are balanced by producer Mike Chapman's hauntingly sparse musicology. 

     After this introduction to the party, we segue to a most original epic consisting of a Man from Mars, cars, bars, and guitars. It was hardly familiar territory for Top 40 Radio in early 1981, but audiences have embraced "Rapture" all the way to #1. This second release from AUTOAMERICAN permits the impressively diverse Blondie to include "Rap" to their diversely impressive resume. Get up!

1. "Heart of Glass"

     (Parallel Lines, 1978)

     When producer Mike Chapman heard the original "Once I Had A Love" penned by Debbie Harry and Chris Stein, he promised the band that he would take the Reggae-flavored song and turn it into a masterpiece.

     Mission.

     Accomplished.

     From the fun and funky popcorn-like sounds in the introduction, to the cool iciness of the "oo-oo/oh-oh" refrain, "Heart of Glass" strikes gold on every note and every measure.

     Debbie sings of a fallen love with the right amount of distance and irony, and the honesty in the lyrics tells all. ("Once I had a love, and it was divine/soon found out, I was losing my mind/seemed like the real thing, but I was so blind/mucho-mistrust; love's gone behind") 

     Much of the credit goes to Clem Burke's precise percussion. His acute attention to detail justifies that he drums better than the best of them.

     The guitars and keyboards complement each other in such perfect harmony that it's as if they were born to play Disco. When the song hit #1 in the Spring of 1979, they didn't just join the club -- they showed everyone else how it is done. 

     The fourth single from their third album PARALLEL LINES took over the world (following "Picture This," "I'm Gonna Love You Too," and "Hanging on the Telephone"). It was well worth the wait. 

     "Heart of Glass" and the rest of Blondie's catalog demonstrate that their talent and endurance are parallel to none. 

I hope you enjoyed this countdown!

Random Thought 87

Taking a risk might set you up for disappointment.

Doing nothing guarantees it.

Random Thought 86

You can not change other people.
You can only change how you act and react.
Sometimes that means choosing not to act or react.
That's okay.

Random Thought 86

You might not find the solution,

but you will find an answer.

Random Thought 85

Borrow a book from the library.

Share your experience with the person who read it before and after you.

Random Thought 84

Think of a friend and what you respect about him/her.

Think of what this friend respects about you.

Random Thought 83

Whenever there is storm and drama --

Party!!

Random Thought 82

Borrow a book from the library.

Share your experience with the person who read it before and after you.

Random Thought 81

Listen to the mountains.

FLASHDANCE THE MUSICAL

Flashdance The Musical is currently touring the country in efforts to prep itself for a Broadway bow. Having seen a performance, please allow me to offer my comments that are intended to help rather than hurt.

(The following article contains spoilers.)

Based on the 1983 movie, Flashdance offers a lot for its audiences. There are many good things happening, but perhaps some elements still require a bit of work.

Fortunately, the dancing in the show is quite impressive, as well it should be. It is refreshing to finally have another show that portrays the harsh realties that dancers endure. Having danced across some stages in my time, even I could find myself relating to pretty much all of it.

The show opens with what appears more like an obligatory let's-meet-everyone spectacle, although both the song and staging are impressive to hear and see. Sometimes, however, the introductory expositions seem a bit forced. It's almost as if the book writers and composers were following a pattern of where to place someone telling us who they are and what they do. If these meetings could be re-worked to appear more natural, that would be nice.

Having said that, the show is chock-full of musical numbers, and while I applaud the songwriting team Robert Cary and Robbie Roth for coming up with about twenty original songs, please make sure that they don't cover up the fact that the Book needs work. The songs do fit nicely with the pre-existing ones we know and love from the original source material, "What A Feeling" and "Maniac," and they also complement the 1980s genre. Speaking of which, the pre-show montage of 1980s videos comes across as less endearing and not completely necessary. This is a situation when you can tell us during the production when it takes place rather than show us.

Alex, the lead, is played with sincerity and grit by Sydney Morton, and she isn't the only one following her dream. She is surrounded by friends and co-workers all in the pursuit of Happiness, and the show knows how to drive home the fact that never trying is worse than trying and failing. Perhaps the most inspiring line is spoken by Alex's former dance instructor. She tells her that there are moments in one's life when everything lines up, and we have to take the chance because there comes a time in someone's life when that doesn't happen anymore. It's a sobering concept because it's true, and this character provides the dramatic tension for Alex, who is as frightened as she is defensive.

The show comes alive in the musical numbers, which is fortunate as it is a dance show, specifically during the in-the-club performances of "I Love Rock and Roll" and "Manhunt" (a song also from the film). They work because they are both sharp and sexy. Director Sergio Trujillo moves things along at a brisk pace but almost as if to prevent a lack of applause that seemed to be luke-warm for the most part the night I went. The aforementioned numbers and group numbers generated more enthusiastic responses.

I am also wondering if it would make more sense for the competing club to be a bit more high-scale to offer the character of Gloria more of a drive to work there rather than exchanging one dive for another. At one point she does appear to be disillusioned because her move "up" wasn't that at all. This is because it wasn't what she thought it was going to be, but it might more dramatic for her to be disappointed if this were in fact a classy club. This is why the song "Gloria" doesn't quite work as well as it could have. Please make sure this isn't an attempt to incorporate a song from the decade simply to match the character's name.

Which brings me to Alex, the anchor of all of the dream seekers. As impressive as Morton's singing and dancing are, I actually found myself wanting to see more. She certainly has the credentials to do it, but if she is a club dancer, it's okay to see more of that instead of what felt like abbreviated numbers. If the director is attempting to show bits and pieces of her work and then highlight everything with a finale, then please make the it explosive. Although she dances the heck out the titular number -- and I like seeing her girlfriends profiled in the background singing the song -- I wish it were longer. We do not have to suspend into the unforeseen future to see what type of dancer she becomes because it's okay to make the audition enough. It's a gutsy move to make the climax of a dance show to be a solo performance, but in this case it will work because the show is ultimately about Alex and her dream, and maybe the audition for her is enough. However, just because the character is provided a limited amount of time to audition, this is musical theatre where conventional rules need not apply. The audience has waited over two hours for this moment, and it is okay to extend the number into something that will make us jump out of our seats.

In all, I did find myself enjoying Flashdance, but in order to make it to Broadway, there might be a need for less flash and more dance.

THE WHALE

WOW - go see The Whale at SpeakEasy Stage Company.

It's a beautifully acted, stunning piece of theatre.

A redemption play, if there ever was one. Devastatingly portraying the dangers of not allowing yourself to feel your feelings and how it can eat you alive (literally and figuratively).

The ever-brilliant John Kuntz heads a pitch perfect cast of damaged souls trying to deal with their lives. Maureen Keiller stuns in her reunion scene with her ex-husband.

Georgia Lyman will have you laughing and crying as she cares for her friend/patient and takes us on her journey. Ryan O'Connor brings depth and sincerity to his Elder Thomas, seeking redemption for himself, this shut-in, and his faith. Josephine Elwood truly devastates in the role of the damaged daughter coming to grips with her estranged father and her own "whale".

This is an emotionally intense evening that will ultimately leave you stunned, in awe, and believe it or not, with a sense of hope.

Please, go see this show!

- Jason Allen-Forrest, Guest Critic

www. speakeasystage.com

AVENUE Q

Broadway's Tony-winning hit has become famous for its boisterous bawdiness and let-loose laughter, and the current production at Arts After Hours in Lynn promises both and more!

Director Julia Fiske goes for broke in her unapologetic approach to the material but understands that underneath all of the laughs lies a whole bunch of truths.

The stage is literally set early on with Sean Crosley and Micah Greene with their smart and sexy portrayals of Rod and Kate, respectively. All of the puppeteers maneuver their characters like seasoned professionals. J.Michael Spencer is both hilarious and sincere as Brian, and Paige Clark creates his anchored wife with a beautiful voice.

Andy Porterfield is impressively animated and talented as Nicky and Trekkie. Leeta White is wonderfully funny and sincere as Gary, and Melinda Mogel manipulates her puppets better than the best of them with a winning smile.

Both the set and lighting are professionally detailed, and the music direction is upbeat and never drops its momentum.

As stated earlier, none of this would mean anything if the show weren't grounded in reality, which Avenue Q certainly is. Bills. Life. Being closeted. Getting by day-to-day. Fiske understands this and effortlessly transitions to the tender moments while never slowing the pace. We also completely believe that these neighbors know and love each other.

Kudos to Corey Jackson! The proceeds from the pass-the-hat section actually go to real organizations!

Watching this production is like meeting and visiting friends. Too bad the run is only "for now."

A is for Awesome.


http://www.artsafterhours.com

ALICE IN WONDERLAND

Alice in Wonderland has always been a difficult show to physicalize, but you would never know that after seeing this charming production at Winthrop Playmakers.

Filled with a colorful stage and bright costumes, everyone in the cast is having fun, and that joy is infectious. Director Nathan Fogg knows how to sustain the lively pace while controlling the show's self-induced mania. Jason Hair-Wynn's energetic choreography is vibrant and clever. The musical numbers are uplifting, and it's a perfect way to spend an evening or afternoon with the family.

THE COLOR PURPLE

Every once in a while there is a show that becomes less of a production and more of an experience.

Such is the case with the SpeakEasy production of THE COLOR PURPLE.

For the first time, I am having difficulty finding the correct words to properly describe this extraordinary celebration of life, love, rebirth, and renewal. A thesaurus of superlatives might be a good place to start.

Director Paul Daigneault has outdone himself. To say that the cast have mastered their craft does not do justice to their performances. Everything and everyone in this production have raised the bar. The sound. The sets. The lighting. The musical direction and band. The choreography. The costumes. SpeakEasy redefines the meaning of "excellence".

Lovely Hoffman's portrayal and understanding of Celie is truly one of the most breathtaking performances I have seen. Ever.

SpeakEasy's current masterpiece is nothing shy of a gift to all of us.  A+

ONCE

Like that other song from that other musical, ONCE informs us that everyone comes into our lives for a reason and that we can both learn from each other.

When all the glitz and glamour are removed, we are left with nothing but glamour and glitz. This is because the story of Guy meets Girl who meets Guy is strong enough to support itself. The ensemble plays many crucial moments to this musical which transports the audience to a quaint little town to experience this not-so-chance meeting.

The exquisite set of a local tavern is complemented by the subdued lighting, complete with an arial vision. The mesmerizing movements are matched by the magical music.

ONCE teaches us the Once in a Lifetime should last that long.  A+

Top 10 of 2013!

10. COMPANY (Stagecoach Productions)
      Anchored by a stellar cast, this modernization of the contemporary classic shows how relevant (sometimes even more so) the concept of love and "being alive" still are. The costumes by Susan Cassidy are sexy and sophisticated, and as always, Judy Hayward does the music direction better than the best of them. She can make this complex score sound so effortless. Minimalistic staging allows for maximum movement. Jeff Prescott's Robert is second to none, but who can forget Amy Agostino's "there's a time to leave New York" monologue delivered with quiet grace and understanding? I'd like to propose a toast to Stagecoach!

9. OTHER DESERT CITIES (SpeakEasy Stage Company)
    This production stars Nancy E. Carroll, Anne Gottlieb, and Karen MacDonald. Please. Need we say more? Yes! It also stars Munson Hicks and Christopher M. Smith in this Pulitzer-Prize finalist and Tony nominee for Best Play. When it comes to wanting to feel better about your own family, don't look any further than Broadway to portray dysfunction at its finest. When a daughter returns home to reveal she's writing a tell-all about her family, she is quick to discover that they have some secrets of their own to share! The sharp text by Jon Robin Baitz comes to brilliant life under the direction of Scott Edmiston, who knows how to make action flow so easily. It's a pleasure to see a dialogue-heavy show with so much to say!

8. MISS SAIGON (North Shore Music Theatre)
    Layering (thank you, Jason). That is exactly how Richard Stafford directs this production. Instead of barreling in at full force, he physically and emotionally layers each scene, each number, each choreographed move, and each character arc. The result is a devastatingly powerful portrayal of worlds and lives torn apart by war. And just when you think we were going to be void of a helicopter, there it is - in all its harrowing glory! Clearly, this production belongs to Jennifer Paz who destroys everything and everyone in her path as Kim, but the rest of the cast keeps up with her pace. Francis Jue's Engineer is filled with the right amount of passion, humor, flaw, and hope. By the time we get to his outstanding "American Dream," we realize along with him that his is just a dream. But Stafford never shies away from the fact that war has always been a nightmare.

7. THE KNAVE OF HEARTS (Tufts University Department of Music)
     Based on Louise Sanders's play, this new opera penned by Dr. Vartan Aghababian is full of wit and joy and made its world premiere back in the spring. The self-proclaimed "professional" bakers set the scene for infectious laughs and fun. The voices are impressive, and everyone is invested in the piece. There is nothing more enjoyable than a world premiere!

6. MUCH ADO ABOUT NOTHING (Arts After Hours)
    What could be more enjoyable than a summer afternoon in Lynn Woods watching Shakespeare? Knowing that the team @ Arts After Hours knows how to take it to next level. In addition to hiring a cast dedicated to their craft, the creative team knows how to incorporate both the audience and the environment into the piece, making a multi-level, multi-dimensional experience. Director
Hondo Weiss-Richmond allows the audience to be part of all of the action and takes full advantage of the beautiful surroundings! There is much about everything in the city of Lynn!

5. THE SOUND OF MUSIC (North Shore Music Theatre)
    Director James Brennan knows how to remove the sugar coating to traditional family shows while at the same time accenting the emotional impact, and this isn't any exception! What a beautiful, lavish production especially when taking into consideration how problematic the Book is. Complete with mountains, this production is filled to the hills with talent and life. When Suzanne Ishee sings
"Climb Ev'ry Mountain," we do just that!

4. NEXT TO NORMAL (Marblehead Little Theatre)
    This is a show that refuses to go away, and that is because even though each production can create a different spin, the messages of depression and hope remain the same. This production is directed with a little bit more distance and coldness making the tragedy of the situation that much more severe. I love the lighting design (the tic-tac-toe grid w/lightbulbs) and the boldness to turn on the house lights to make the audience part of the action. There is also more emphasis on the tug of war between
mother-son-father. With an in-your-face, dynamic approach, this piece proves that hardly anyone is safe from "just another day."

3. TRIBES (SpeakEasy Stage Company)
    When it comes to directing acerbic scripts, count on M. Bevin O'Gara to deliver. With her unapologetic in-the-round approach, she shows it like it is. Sometimes in life someone is facing us, and we can see and hear everything they say. Sometimes they are facing away from us, and we have to do the best we can. That is one of the many elements of the play that are transferred so effortlessly to the stage. Not a single weak link in the cast or crew. Nina Raine's brilliant script points out that when a man - who can not hear us - stops talking,
we listen . . . . because he has a lot to say.

2. IN THE HEIGHTS (SpeakEasy Stage Company)
     WEPA! I've said it before, and I'll say it again. Director Paul Daigneault knows how to find the smaller moments within the larger moments, and he excels in this jubilant celebration of community, life, love, and knowing how to find and re-define "family" during crises. In addition to being a sexy, sassy production, Paul's reconstruction to fit into a smaller venue perfectly accents the emotional impacts, especially the relationship between Usnavi and Sonny. Beautiful sets and lighting complement the rich Score and Book. The only thing hotter than this show would be the summer that follows.

1. INTO THE WOODS (Peacock Players)
    Forget everything you've ever known about "Children's" Theatre. Those who are younger than we can teach us quite a bit (as I have recently discovered). In addition to beautiful costumes and lavish sets, all of the performers are totally invested in their roles, even finding new nuances to share. This is certainly the case for Julia Enos as the Witch who digs even deeper to find more authenticity and vulnerability to her character. But the stand-out performance belongs to Alex Giggey who re-defines the Baker is his emotional arc. No one can forget his heart-breaking "No More." The brave concept of adding characters (e.g. the Pigs and Dwarfs et al), only adds to instead of distracts from the dramatic texture of the Book. As Keith Weirich must know, when he directs, children WILL listen!

These Are The Best of Times!

It is very interesting to see just how far La Cage Aux Folles has come since its debut in 1983.

It is equally very sad to see just how little has changed since La Cage Aux Folles opened in 1983.

Director Charles Repole seems sensitive to this and provides a lavish, satisfying productions that pays homage to the original source material but remains relevant to today's climate. Anchored in the original, but taking some cues from the 2010 Revival, La Cage pleases on all levels.

Charles Shaughnessy has found and applied some depth to Georges. Instead of playing him as a one-note butch man, he has allows the character to explore all aspects of his character.

Jonathan Hammond is an emotional Albin who lights up the stage when he lets his husband have it during "I Am What I Am." This particular pundit enjoys Hammond's off-the-cuff portrayal of a spouse wounded because his emotions are both raw and realistic.

Nikko Kimzin tears the stage up as a wild but sensitive Jacob.

Larry Cahn knows how to play M. Dindon as an unlikeable but real character. All disdain for him are authentic instead of superficial. Maureen Brennan provides enough comic relief as his long-suggering wife. She is a true joy to watchj.

Zach Trimmer and Stephanie Martignetti have (finally) found ways to portray Jean-Michel and Anne as full-fleged people instead of caricatures that breeze in and out of the play.

Les Cagelles own the arena when they perform, and their costumes are second to none. Even after all these years, they play and dance their parts with refreshing renewal and credibility.

La Cage @ NSMT is everything you want it to be -- bright and colorful but grounded in reality and emotion.

If the Best of Times is not now, then when?

Top 5 Fleetwood Mac songs penned by Lindsey Buckingham

5. "Monday Morning" (Fleetwood Mac, 1975)

The opening track of the group's eponymous album doesn't waste any time letting the public know there is a new line-up in town with Lindsey's blend of country rock and soothing vocals. It is the perfect mid-1970s answer to the decade's soft rock while still remaining faithful to what the band had established in the latter part of the 1960s. It is a sincere moment for Lindsey as he both showcases but downplays his guitar abilities. He would later explore more experimental work and explode during guitar solos, but this song is a proper introduction.

4. "Never Going Back Again" (Rumours, 1977)

This deceptively simple track from an album you've probably heard once or twice focuses more on his intricate manipulation of the strings and less on stanzas of lyrics. That's okay because it is clear that Lindsey knows what he's doing when it comes to the guitar. When performing live, he allows his fingers to do the talking to emphasize the immediate and intimate nature of the song.
Sometimes, less is more.

3. "Big Love" (Tango In The Night, 1987)

When the group recorded what could be considered RUMOURS II, Lindsey answered the call with his sexy, fun pop smash. It combines the traditional FM bass/drum connection and Lindsey's playfulness in the studio (grunts, anyone?). When pared-down to just him and instrument, he is able to re-create the song for live shows, and it takes on a whole new meaning. Again, his guitar work here is second to none.

2. "Tusk" (Tusk, 1979)

Ironically, one of Lindsey's best has nothing to do with his guitar work, but the bold and famous inclusion of the USC Trojan Marching Band. This song works well because of its gradual build. Whispered vocals progress to a feisty crescendo while incorporating the brass section to match. The song and album were quite daring back in the day, but the risk pays off.

1. "Go Your Own Way" (Rumours, 1977)

Lindsey's gutsy in-your-face declaration of independence is both angry and honest. The straightforward rock-and-roll anthem in the chorus is a stark but complementing contrast to the verse's intricate musicality. The first single of this line-up's second release lets everyone know this isn't the same band from an album ago. Lindsey has arrived, and he is going his own way!


http://lindseybuckingham.com

Random Thought 80

I don't want to do things
that I don't want to do.

Silence Is Worth A Thousand Words

TRIBES @ SPEAKEASY STAGE COMPANY

From the first acerbic piece of dialogue to the final wordless moment, TRIBES is a powerful, moving piece about communication and where one wants to belong in their life.

Director M. Bevin O'Gara is hardly a stranger to contemporary plays with strong choices of words, and her staging of this family dramedy is what anchors the emotional punches.

Set in-the-round, O'Gara is both courageous and unapologetic about how she stages the superior cast. Usually in this configuration the actors are instructed to play to all sides as much as possible. Such is not the case here. The actors carry on with their daily lives as they normally would, and the in-your-face staging allows the audience in on Billy's world, who cannot hear the constant cacophony his family delivers.

As an audience member, we experience what he does--sometimes the characters face us; sometimes not. Just like in real life. We can appreciate (in a good way) his challenges when someone is not facing him and he is unable to lip-read. James Caverly plays the part perfectly. He does not want sympathy and apologizes for nothing. He wishes to be treated like everyone else--the opposite of how his family addresses him. By doing so, they make him feel more like an outsider.

TRIBES makes many bold statements along the way and does not disappoint.

Sometimes what you get is what you hear.

www.speakeasystage.com

Random Thought 79

One cannot read something
if it is not written.

Not Just Another Day by Day in the Boardroom

Godspell @ Winthrop Playmakers

The concept of placing the action in a boardroom is not only clever but the novelty never wears off, thanks to the clever direction of Thea Wigglesworth and the indefatigably talented cast.

The energetic Jason Hair-Wynn is hired to inspire and his effervescence permeates for both cast and audience. It is clear from the onset how relevant the book and score still are and that we all need a jolt of hope in these tempestuous times. The parables as told in the work place achieve multiple levels of symbolism in today's corporate climate. "Turn Back Old Man" is wonderfully seductive and enjoyable while at the same time suggesting such behavior is considered inappropriate for the office. The role plays of sons competing for their father's affections parallel that of co-workers vying for their boss's approval. All of the actors have personality and their improvisations appear to be impressively created as the night goes along. It's all there - the politics, the personalities, the relationships, and the dynamics. The musical numbers are performed earnestly and with hope.

Prepare Ye for a wonderful night of theatre!

For information -- www.winthropplaymakers.com

Top 10 of 2012

10. WAR HORSE. (Broadway Across Boston)
It's all there. The majesty and the eloquence highlight the deceptively simple tale of a boy and his horse against the backdrop of war. The manipulation of the puppets would mean nothing if they had not provided personalities for them as well. Perfect acting and haunting period music highlight this experience that tells us that every journey is worth the trip and the outcome.

9. BOEING-BOEING. (Trinity Repertory Company, RI)
There si nothing wrong with laughing non-stop for two and a half hours, especially during a production performed so precisely and professionally as this one. The two men are at the top of their games as they effortlessly and tirelessly work off each other and work the audience into hysteria. The sexy stewardesses and mundane maid balance out the troupe and perform on an appropriate candy-colored set with an intricate lighting design. Farce is not easy to pull off, but this cast and crew land every laugh smoothly.

8. ANNIE. (North Shore Music Theatre)
Directed from the dark corner of the room rather than the sunny side by the window, this re-invention of the classic musical does fewer tugs at the heart and more jabs in the stomach. By creating less cringe-inducing smiles, the production comes across with more heart and soul because the emotions arrive from somewhere real rather than forcing them upon us. The muted tones add to the somber existence where things don't really get better - they just begin to. Sometimes, that's good enough.

7. MF WITH THAT. (Speakeasy Stage Company)
The warnings declare that this production contains bad language, nudity, drinking, violence, and drug use. You don't have to talk me into it; I already said I'd go! Despite the title, this play contains as much tenderness as any other slice-of-life dramedy on the stage. And because of the language the audience is allowed into the dark souls of the characters where true pain lies hidden under layers upon layers of "protection". Soon everyone is metaphorically exposed on stage and no one is quite whom they appeared to be. I'm not sure if it's scripted, but at the beginning of the piece all five characters stand across the stage as the audience observes them. Admittedly this seems to be an odd way to begin any productions. However, at the conclusion when they return to their initial poses, we see them differently. Very differently. And us as well.

6. SUPERIOR DONUTS. (Lyric Stage Company of Boston)
Nothing inferior about this production which focuses on the caustic relationship between the curmudgeon who owns a donut shop and the exuberant co-worker he takes on. Monologues reveal who the proprietor truly is and whom he wants to be, and he turns the tables when duty calls for it. I will never forget the very final part of this piece. Tracy Letts knows how to write and troubled personalities, and Lyric Stage knows how to make us embrace them.

5. MEMPHIS. (Broadway Across Boston)
From North Shore Music Theatre to Broadway, this jaw-dropping, awe-inspring musical took an already perfect piece and made it even better. The energy and the talent explode off the stage in the story of a man trying to make his mark in the music world and trying to fall in love with woman he desires. Unfortunately still relevant, the tour still makes us feel good with the music and the dance and everything that makes life truly worthwhile. If it's meant to live in you, it will.

4. BILLY ELLIOT. (Broadway Across Boston)
What a rare find it is when a production not only lives up to its hype but also surpasses it. The original movie seemed destined to be a staged musical, but not many people could have expected this. Set against the backdrop of the UK miners' strike in the mid 1980s, Billy finds solace in the polar opposite of the anger and violence through ballet. Instead of allowing this to become a one-trick metaphor, the choreography tells the story through symbolism and parallelism, most notably during "Solidarity" and "Grandma's Song". Obviously the dancing is one-of-a-kind, but the visuals and the care given to character growth complement each other. Instead of boxing, Billy finds ballet. And we have found a musical that is truly electric.

3. NEXT TO NORMAL. (The Acting Loft, NH)
Anchored byt the indestructible Shawn Ciampa and Jennifer Sue Mallard, the intimate New Hampshire premiere re-defines the tempestuous mother-daughter relationship after a family tragedy. The impressive cast and eloquent direction are top-notch, but their performance is the one to watch. And take in. And absorb. Before the audience knows what is happening, we are drowning in a puddle of sadness, but in a good way. The production reminds us that this is how we heal. This is how we begin to move on.

2. RED. (Speakeasy Stage Company)
When two guys paint a canvas simultaneously and it generates applause, someone is doing something right! In this case, the cast and crew of SpeakEasy get it right again in John Logan's Tony-winning play. Thomas Derrah & Karl Baker Olsen play artist/student and teacher/pupil, and it's anyone's guess as to who is truly who is this re-examination of the meaning of Art. Never resorting to trite cliches, this mature performance is directed by David R. Gammons. RED raises more questions about Art and Life imitating each other , but also raises the bar on plays and productions to follow.

1. NEXT TO NORMAL. (SpeakEasy Stage Company)
There is a reason why this piece re-appears on my lists, and there is a reason why it is being performed by regional and community theatres across the country. There is a little bit of Diana in all of us. Kerry A. Dowling takes on the role like it's nobody's business and destroys everything in her path, bringing a unique blend of anxiety and humor to the part. The rest of the cast successfully keeps up with her indefatigable talents. The show is not an easy one to sit through, but well worth it. Paul Daigneault's re-invention forgoes the traditional house set-up and achieves new levels of symbolism through moving panels and just right amount of projected images. The show is a reminder that even though there are days when we miss the mountains - and rightfully so - there will be Light. Someday.

(Shine on, Kevin.)