Sunday, November 24, 2019

I Know A Man

I know a man who will stand up with you
Yes, I know a man who will know what to do
Oh, my darling, I promise you true
That I know a man who will stand up for you

I know a woman who will pray for you
This is a woman who will heal your wounds new
Oh, my child, the pain you go through
But I know a woman who is praying for you

Rest, my dear, please rest
Blessed; you’re blessed

I know the moon will light up dark nights
Yes, I know the moon will guide your sore eyes
Oh, my friend, this life is not right
But I know the moon will glow in the night.


Copyright 2004 Scott C. Forrest

Tuesday, November 19, 2019

The Illusion

Life is the illusion of what one wants it to be
Cross over the bridge to get to the sea
When I am with you, how joyous are we
Because you are the illusion of what I want me to be

Smack me with words; punch me with hate
One does not mind when he realizes too late
Shine on the water; shine on the seas
You are the illusion of what I want you to be

The sand and the water are too much for the beach
The tide comes in, in order to reach
See the young child climbing the tree
That is the illusion of how it should be

The mountains that tower over the trees
The ice that breaks and flows to the sea
Two loving bodies as close as can be
Are all part of the illusion, and so are we.


Copyright 1983 Scott C. Forrest

Tuesday, November 12, 2019

The Right One

Please forgive me
I’ve been hurt too much before
I just couldn’t stand the feeling
Of that pain anymore

I know you’ve been so kind
But I can’t get it out of my mind
What I’ve been through
I don’t know what to do

Please let me 
Forget my awful past
I just want our love
To last and last

I am not one to take chances
I’ve forgotten what romance is
My life’s all new
Still, I don’t know what to do 

I want to be free
Free from worry and fear 
Filled with courage and strength
Knowing you’re always near

I want to be sure
Sure that you’ll always be by my side
I hope that you are the right one
My arms are open wide

So, here I stand
Like so long ago
Wondering how you feel
Wondering if you know

That my love for you
Could never be stronger
Hold me now
Hold me a little longer

I want to be free
Free from worry and fear
Filled with courage and strength
Knowing you’re always near

I want to be sure
Sure that you’ll always be by my side
I know that you are the right one
My arms are open wide.


Copyright 1983 Scott C. Forrest






Friday, November 09, 2018

THE PLAY THAT GOES WRONg

THE PLAY THAT GOES WRONg
at the Emerson Colonial Theatre, Boston MA

THE PLAY THAT GOES WRONg is the Tony-Award winning London import now touring across America. Currently enjoying multiple extensions in New York, PLAY introduces an amateur theatre company attempting to produce a murder mystery.

As the title suggests, what can go wrong will go wrong in this relentlessly hilarious production that opened Wednesday evening in Boston MA. 

Anchored by the deliciously dry Evan Alexander Smith, portraying the play-within-the-play’s director and star, the audience is welcomed by his charm. He is paired with a stellar cast who re-examines the argument for a Tony Award for Outstanding Ensemble. 

Scott Cote, Peyton Crim, Brandon J. Ellis, Angela Grovey, Ned Noyes, Jamie Ann Romero, and Yaegel T. Welch display not only impeccable timing and precision, but also ultimate trust with and dependability on one another. It is truly impressive to witness the actors sustain this level of physicality as well their characters’ attempts to remain professional and under control.

Director Matt DiCarlo has choreographed the ultimate Schadenfreude meets Noises Off! on acid.

Then we have the well-deserving Tony-award winning Set by Nigel Hook. Not only has he created a set that looks like it was built by a local theatre troupe, but also it must endure the treatment it receives during each performance as well as convey safety to the audience members.

One of the reasons why PLAY works so well is the script penned by Henry Lewis, Jonathan Sayer, and Henry Shields. Despite the title, they manage to keep the show from being a one-joke wonder by peppering it with word play, on-stage drama, missed cues, and organized chaos. Yes, there is plenty of physical humor, and all of it very creative and original.

Another reason why the play succeeds is because there is actual script within the show! And in spite of – or maybe because of – the action, we can still follow the murder mystery and are never truly distracted!

Those of us who perform in the theatre can certainly relate to occasional hiccups that sometimes occur during performances. One hopes that it would never reach this extreme!


This English farce will certainly have you laughing – or at the very least smiling – for over two hours, because it gets everything right!

Monday, November 05, 2018

LITTLE SHOP OF HORRORS at ARTS AFTER HOURS

Based on the film of the same name, LITTLE SHOP OF HORRORS with Book & Lyrics by Howard Ashman and Music by Alan Menken, receives an outstanding makeover at Arts After Hours in Lynn, MA.
It is the story of Seymour, a meek botanist who discovers a “strange and unusual plant” and sees his life change in ways he could never have predicted.
Jason Hair-Wynn effortlessly brings to life Seymour’s idiosyncratic personality. His physical humor and dedication to the role are a joy to watch.
Amanda Raponi portrays Audrey’s vocal characteristics and her deep-rooted pain perfectly. Her “Somewhere That’s Green” is beautifully devastating.
Mr. Mushnik is played by the charming Paul Stickney who expertly balances both his love for and frustration with Seymour.
Tristyn Sepersky, Ali Sarnacchiaro, and Alice Vaught set the scene and anchor the production as Chiffon, Crystal, and Ronnette respectively. It is so much fun to watch them interact with the other characters and audience patrons.
Orin Scirvello, D.D.S. is perfectly cast by Kent Walters. He knows how to play the dentist who is both rebel and psychopath as well as multiple roles and keep those characters unique and funny.
Then we have Audrey II. Nick Raponi literally embodies the infamous plant in a way this pundit has never seen. What a thrill it is to witness and enjoy his untraditional approach to the role. Mr. Raponi takes the concept and runs with it at full speed. His interactions with Seymour are as humorous as they are creepy. Well done!
Director Samantha Gambaccini intelligently plays homage to the original material and films of the 1950s by showcasing the over-the-top dramatic flair of the day. She updates the material by including the audience in portions of the production and adding some inside sight gags. Clearly, Gambaccini recognizes that with every comedy, there needs to be some drama or reality to ground it so the humor works. This is evident in the turn-on-a-dime moment in the ensemble number “Skid Row.” Underneath the laughter is much pain, and we feel how each of the characters ache and yearn to get out of their individual situations.
Costumer Designer Kay Marsella has created an impressive color palate for the production. A great example is the changing of the outfits for the girl group to properly reflect what is happening in each scene, and of course, Audrey II!
Lighting Designer Michael Clark Wonson establishes the drama and intensity throughout, especially in the musical numbers.
Set Designer India Lee has created a beautiful set, reminiscent of the films of the 1950s.
Music Director Shane A. Stecher has captured the essence of the music of the day, particularly early pop and doo-wop.
Sound Designer Dave Simmons has properly balanced the music and dialogue and has created some impressively real sound effects.
One of the joys of seeing live theatre at Arts After Hours is to see the interpretation of shows and productions that are already audience favorites. It is their unique approach such as the current production that keeps live theatre thriving and satisfy our hunger.

Tuesday, October 30, 2018

"The Leader" by Paul McCarthy & Scott Forrest-Allen

(READER DISCRETION IS ADVISED.)


     "Mr. Baxter! Come quick!"

     "Yes, Tommy? Did you find Matt?"

     "No! He's still missing! I can't find him anywhere!"

     "Okay. Calm down. Breathe. We'll find him."

     "He was just here a few minutes ago. He said he was going outside the cabin to get more wood. 

He was gone such a long time I went to search for him. Remember?"

     "Yes, I remember."

     "I took my flashlight--"

     "As all good scouts do."

     "--and went outside. I circled the cabin. Twice. It's dark. DARK out there! I thought he was 

playing one of his usual jokes, but now I don't know." Tommy places his flashlight in his jeans

pocket.

     "I heard you call his name. He didn't -- he hasn't answered yet. I'm sure he's just playing one of

his usual tricks on us."

     "You always say a good Scout would never play a harmful trick on his fellow Scouts, Mr. Baxter."

     "Yes, I did, but not everyone listens to me like you."

     "What's the big deal about Matt?" Spike interrupts. "He's just playing a joke on us like you said! 

That loser will show up soon. Why the panic?"

     "Because we're out here in the middle of nowhere!" Tommy shouts. "He's been gone for over an 

hour!"

     "He's been going for ten minutes, you Nancy!"

     "That's enough, Spike!"

     "Sorry, Mr. Baxter."

     "Now, there's no reason to panic. Matt is out there somewhere, and we will find him, as good 

Scouts do!"

     "What if he fell down and hurt himself or got bit by a snake and lying dying somewhere, or--"

     "Will ya stop it, you drama queen?"

     "Spike! That's enough! We will discuss your punishment later!"

     "Sorry, Mr. Baxter."

     "Tommy, you stay here in the cabin with Jack. Spike, you and Kris take flashlights and search 

for Matt. Good Scouts always stick together and help each other in need. We will find him!"

     "Mr. Baxter?"

     "Yes, Spike."

     "If good Scouts always stick together, why did Matt go for wood alone?"

     "We will discuss that later! In the meantime, I will circle this cabin and keep a close eye on 

all of you," Mr. Baxter promises.

     "Yes, sir," the Scouts reply in rehearsed unison.

     And with that, Spike and Kris go out as bravely as they can into the black to search for Matt. Jack

stays inside and does his best to comfort Tommy. Mr. Baxter steps outside, and locks the only door to 

the cabin. Jack and Tommy see Mr. Baxter's flashlight reflecting and bouncing off the four 

windows on all sides of the cabin.

     Mr. Baxter checks his watch. It is almost 11PM.

     A lonely wind brushes Mr. Baxter's face. 

     Inside the cabin, the only source of light had mysteriously distinguished not long ago along with 

the dying embers inside the potbelly stove. Less than a handful of candles try in vain to illuminate the 

interior to no comfort to Tommy. Or the other Scouts. Or their leader. Though none will admit to that.

Except, of course, maybe Tommy.

     Outside the cabin, the wind can barely make itself audible in the density of the woods. Leaves 

and branches rustle against the starless sky. What animals that are lurking behind the trees are 

remaining still until the proper moment.

     Even Mr. Baxter could not have predicted how loud silence could be. In the still of the night,

the quiet is anything but soothing. In the middle of nowhere, the lack of sound threatens.

In the not too far distance, the two boys' flashlights dance in the darkness. The two Scouts are 

careful not to holler the name of the missing boy so as not to arouse any critters.

     "Everything will be alright, Tommy," is the cliche that exits Jack's mouth. "Matt will show

up. I promise."

     A high-pitched scream pierces the air.

     Jack and Tommy shudder together on the floor.

   "MR. BAXTER!" It's Kris's voice. "MR. BAXTER!"

     The leader arrives to find one flashlight on the ground, shedding its beam along the blades of

grass and dirt patches. He also find Spike's companion trying desperately to explain what just

happened. He places his hands on the boy's shoulders and attempts to interpret the words 

escaping the youth's mouth.

     Amidst puffs and pants, the leader hears the words "man," "cloak," "grabbed," and "Spike!"

     Mr. Baxter's mouth goes dry.

     GET KRIS INSIDE!

     GET KRIS INSIDE NOW!

     GET THE BOYS TO SAFETY!

     Another high-pitched scream pierces the air.

     The leader grabs the boy's arm, and they race in the darkness toward the sound. Toward the cabin

where the sound is coming from.

     Mr. Baxter and Kris stumble into the cabin where Jack had been.

     As the leader rushes to Tommy's side, Kris slams and locks the door and joins his

companions, dropping his flashlight on the bare, wooden floor.

     The leader must decode again, after he turns off his flashlight and places it carefully on the floor

next to him. 

     Amidst sobs and breaths of terror, Tommy manages "man," "cloak," "grabbed," and "Jack!"
   
     911! THIS IS A FULL-BLOWN 911 EMERGENCY! THIS IS IT! Why didn't I take action before?

Because before -- oh, I wish it was "before" again -- I thought -- I KNEW I would find these boys, and

we'd all return to safety! But now -- things are different. Where's my phone? Where's my cell phone??

When I was these boys' age, we didn't have cell phones. When I was there age. I want to be their

age again.

     Mr. Baxter pulls his phone out of his shirt pocket.

     He flips it open.

     He turns it on.

     He waits for a signal.

     He waits.

     And waits.

     The two remaining boys wait.

     Nothing.

     No signal.

     Mr. Baxter throws the phone against the wall, and shattered phone pieces fly and land on the 

floor.

     Mr. Baxter apologized for his behavior. The boys understand.

     The two boys shriek in response to something behind their leader's head.

     He turns around and feels every hair on his body stand on edge.

     The face.

     There is a face in the window!
   
     The light from on the remaining candles cast shows on the expressionless face.

     "Who are you?" Mr. Baxter commands. "What do you want?"

     The face turns to its side.

     The left eye darts at them.

     The mouth alters into a puckering position.

     "What doo I want??" the face taunts.

     Mr. Baxter feels his stomach drop away from his body, which turns cold. 

     "You already gave mee what I want! But I want moore!!"
  
     "GO AWAY!" demands the leader. "GO AWAY!"

     The face turns and faces the leader. "Okay!"

     The mouth puckers and blows against the window as if to blow out a candle.

     Which is exactly had happens.

     The candles extinguish, leaving the remaining troop members in the black, save for Kris's

flashlight, which he has dropped after his final entry into the cabin.

     "Are you guys okay?"

     "No, no we're not," whimpers Tommy.

     "We'll get through this," the leader promises.

     "Enough, guys! The joke has gone too far! Come back! Come back now!" Jack demands.

     A confused leader looks ahead to find Matt, Kris, and Spike entering sheepishly from the back

door of the cabin.

     "So," begins Mr. Baxter, "this was all some elaborate prank to play on your leader!"
  
     The five Scouts hang their heads in shame. Even they know there isn't any use in apologizing.

     "We will all go to bed and return home in the morning. Your punishments shall be severe!"

     The Scouts remain silent.

     "Just one question. Which one of you was at the window? I didn't recognize the face."

     The Scouts look around at each other, giving Mr. Baxter more chills than he has already

experienced so far.

     "We don't know," answered Tommy.

    Mr. Baxter and his Scouts pack it up for the evening and never speak of that night again.




Copyright 2010 Scott C. Forrest-Allen & Paul McCarthy



     

Sunday, September 16, 2018

NUTS by Tom Topor at The Burlington Park Playhouse

NUTS, the1979 courtroom drama by Tom Topor, dares to blatantly address issues of mental illness, sexual abuse, misogyny, and exploitation of the court system. One might be familiar with the 1987 film of the same name headlined by Barbara Steisand, but one might not be familiar with the emotional impact the current production at Burlington Park Playhouse will create.

The story focuses on Claudia Draper, a woman who exchanges money and gifts with gentleman callers. When she is accused of manslaughter, she is brought before a judge to see if she is mentally competent to stand trial.

Wow! Just wow!

Tom Astore as Office Harry Haggerty is never out of character with reactions both subtle and believable. The same can be said for Cathy Merlo as the Recorder. She is always in the moment but never steals focus. Paul A. D’Onofrio is perfect as Judge Murdoch who perfectly balances his professional objectivity and personal frustrations with the proper amount of sensitivity and impatience.

Dr. Herbert Rosenthal, played by Lou Fuoco, portrays his character’s infuriating one-way opinions with impeccable credibility and consistency. The tug-of-war between Prosecutor Franklin MacMillan (H. Webb Tilney) and Defense Attorney (Lee Pallotta) is a courtroom battle to be witnessed. Both actors know how to their get points across with credibility rarely seen on stage.

Tim Vincent and Christine Connor as Arthur and Rose Kirk bring amazing dramatic texture to their portrayals of the defendant’s stepfather and mother. Both actors launch their individual testimonies and slowly build to emotional climaxes on devastating levels.

But this production of NUTS belongs to Kerry Rosen Moe as Claudia Faith Draper. A local favorite in the musical theatre circle, her stellar performance flexes her theatrical muscles with an explosive performance that is to be experienced. Hers is a complex character that Kerry brings to incredible life with controlled intensity and solid understanding. The first two acts allow her to react silently to her doctor’s and parents’ statements. When it is her turn to take the stand, people sit up and take notice.

Robert Hallisey’s direction is has an acute attention to detail and subtlety. This is evident by his impressive set design (along with Jason Toppan) complete with realistic EXIT sign and an actual working clock.

This production and Kerry’s performance are emotionally wrenching and thought provoking. This rarely performed piece receive due justice.


burlingtonplayers.com



Friday, May 11, 2018

ALLEGIANCE @ SPEAKEASY STAGE COMPANY



The production of Allegiance - A New Musical by SpeakEasy Stage Company is nothing shy of Magnificent! 

This difficult material that shall not be overlooked anymore transforms amazingly into a musical that will make you angry, think, laugh, and cry. 

The performances are stunning, and the direction by Paul Daigneault is meticulous. 

THIS is what theater is about!

Monday, December 18, 2017

TOP TEN OF 2017!



10. WORKING
(The Umbrella Community Arts Center)
Updated and more relevant than ever, Director James Tallach shows us the grit and the grime of everyday people doing the very best they can. There is comfort in knowing that we are not alone. The thru-line of Construction Man documenting everyone's stories is an impressive way to anchor the production. A stellar cast coupled with rock-solid music direction by Gina Naggar showcases the ups and downs of the 9 to 5 life and how everyone is still working for the weekend.  

9. FUN HOME
(Broadway Across Boston)
Reworked from in-the-round presentation to the proscenium only makes this intimate story that much poignant and important. In a world where
Traditional Family is both changing and being challenged, this Best Musical Tony Winner shows us that things are not always what they appear to be but that Love still remains.


8. SOMETHING ROTTEN!
(Broadway Across Boston)
There is nothing rotten about this clever, witty, sophisticated, hilarious take on everything Shakespeare and Musical Theatre! Headlined by Bob McClure, Adam Pascal, and Josh Grisetti, this production is overflowing with non-stop inside humor and word play. "A Musical" is just about the most exuberant number in Broadway history. This is a welcoming reminder of why we do and see live theatre.


7. THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

(Broadway Across Boston)This Tony Winner for Best Play is everything it promises to be and more. Based on Mark Haddon's novel we go into the mind of Christopher Boone and understand his world of overstimulation. Adam Langdon is superb in the title role. The complex choreography and lighting design that is Act Two are to be marveled and appreciated.



6. DESIRE - PLAYS BASED ON SHORT STORIES OF TENNESSEE WILLIAMS
(Zeitgeist Stage Company)
The only thing that is more brilliant than a collection of short plays inspired by the brilliant Tennessee Williams is how this company coordinates several different works by several different playwrights and assembled them into one cohesive piece. David J. Miller directs a superbly talented cast taking the audience on journeys we did not anticipate. Relying less on elaborate set pieces and more on each other only strengthens the quality of this piece.

5. THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
(Speakeasy Stage Company)
Streamlined for a more intimate space? I think not. The three-quarter thrust approach with stage covered in mathematical equations and non-stop lights and Eliott Purcell in the title role make this a powerful portrayal of stimulation and the world in which we live. Everything adds up to an evening that is both entertaining and education. 

4. EVITA 
(North Shore Music Theatre)
Briana Carlson-Goodman's multi-layered portrayal of Eva Perone and Constatine Maroulis's salty, gritty Che is only the beginning of this jaw-dropping experience. NSMT favorite Nick Kenkel directs and choreographs every number and moment as a Tango - representing the perpetual tug-of-war of both politics and emotions.   

3. next to normal
(Arts After Hours)
Kayla Cantrall's linear set design that is Diana's mind is a bold, brave choice that works perfectly. If one is sitting on the sides, we experience the tennis match representing her emotional struggles. If we sit on the edge, we experience the tunnel vision with which she struggles. Katie Picket in the title role explores and demonstrates her character's anguish that is as heartbreaking as it is frustrating. Corey Jackson's by-her-side sufferer is an honest, broken husband. Director Adrienne Boris still discovers new levels in this story that dares to go there.


2. 42nd STREET
(North Shore Music Theatre)
This musical is a personal favorite of mine, and this production is every reason why. From the very first beat, the audience is taken on a ride of non-stop high-octane energy that just gets better as the performance progresses. Director/Choreographer Kelli Barclay gets it. Yes, this is a tale of how dreams can come true, but it is also about escapism in a bleak world. Ultimately, it is about the chorus -- the unsung heroes of Musical Theatre that are doing what they truly love for as long as they can. It's great when you love what you do and do what you love, so embrace it!

1. COME FROM AWAY
(Broadway, Gerald Schoenfeld Theatre)
This is a portrayal of actual events of how residents in a little town in Newfoundland embraced scared, lonely strangers when the attacks of 9/11 altered everything. With bold honesty and refreshing humor, it is a welcome reminder that there is still good in the world, and there is still plenty of time to be good. This brilliant ensemble portrays several real-life people and how just a few days changed their lives permanently. The score by Irene Sankoff and David Hein is inspiring and moving. 


Thank you, Jason, for a birthday I will remember and treasure!