From the Desk of Jim R, Take 2, Column 32, A Review: "A Midsummer Night's Dream" (Hartford Stage)

By James V. Ruocco

Darko Tresnjak's ability to breathe new life into all things Shakespeare is in a class by itself.  And rightly, so.
As a director, he has never once been hampered by the Bard's rambling exposition, his over reliance on plotlines, his many, many characters or his well-oiled, component pieces that must be played straight with absolutely no changes, no cuts or edits or accessorized experimentation.

But like a cinematic Federico Fellini or Ingmar Bergman, Tresnjak dances to his own tune. He does it his way...and only his way... much to the delight of the actors, the audience, the production team, the dramaturgs, the benefactors, the starched suits and their droll wives, the LGBTQ community, the students, their freshly-scrubbed and not-so-scrubbed professors and lastly, the critics. And that, in turn, is what makes his productions snap, crackle and pop and explode across the stage in every color of the rainbow without dampening or detracting from the emotional weight of the evening..

Darko Tresnjak is a genius. He is a showman. He is an auteur. And lastly, he is an original with so many tricks of his sleeve, one is always in awe of his expressive choices and zestful creativity, anxiously awaiting his next move, or, in this case, his next production.

"A Midsummer Night's Dream," Shakespeare's darkly comic, resplendent, opus, puts Tresnjak, at the very top of his game. It is refreshing, astonishing, exuberantly funny, crazy, magical, sexy, delightful and broadly eclectic. There's a lot going on in this joyous Hartford Stage production, but it all make perfect, perfect sense. Delicious, innovative, bold and wildly unorthodox, it is so much fun, you'll want to see it again and again.

What is most impressive is Tresnjak's fastidious attention to Shakespeare's four different sets of characters: The Court of Theseus, The Young Lovers, The Mechanicals, The Fairies. They purposely have a different look, manner, style, speech pattern, language and uniqueness about them that keeps them afresh and afloat in their own particular stories.
The Court, for example, recite Shakespeare like members of the Royal Shakespeare Company. It's a distinct, clever process that works especially well. The Young Lovers offer polished recitations like A-level Eton scholars or no-nonsense Harlem-schooled students. There's also a youthful vitality about them that heightens their aura throughout the night's proceedings.

The Mechanicals, are rife with Fellini-like comic bits, stretches, bawdy puns and sexual innuendo that has everything to do with Shakespeare or nothing at all. Regardless, you're with them every step of the way, laughing and smiling at their mad, twisty persona's. The Fairies, in turn, have an ethereal quality to their words and actions that also suggest RSC training, but with a dash or two of fairy dust.

There is also plenty of well-orchestrated, well-placed fun in Tresnjak's frenzied staging, particularly with The Mechanicals that runs the gamut from three-ring circus and silent movie homage to English melodrama and farce that's superbly staged, acted and delivered. Lots of happy tears steaming down your face can't be helped during these particular interludes and dalliances. And beyond the immediate horseplay, this wild and outrageous group have a definitive feeling for Shakespeare, so nothing ever gets lost in the translation. 

Elsewhere, Tresnjak crafts a slick theatrical piece that is ingenious, fast-paced, layered and textured. There is a wonderful sense of time and space about the piece. Every entrance, exit, dash of comedy, drama or twinkling bit of fairy dust, is strategically placed and centered. The musical bits, the songs, the dances and the sounds of the night blend seamlessly together without any calculation, whatsoever. So impressive, so delicious, so consistent.

The plot, in brief: It's a magical night in Athens and the surrounding woods. Four runaway lovesick students find themselves in the middle of a raging dispute between their proud families and the king and queen of the fairies. A troupe of amateur actors get sidetracked while trying to rehearse a play. And a fairy named Puck, armed with a special love potion and wickedness, tricks some of the characters into falling in love with the first person they set eyes upon. Ever, so clever.

The comic glue of  "A Midsummer Night's Dream" falls rightly into the hands of the tremendously talented John Lavelle who plays the part of Nick Bottom with such dash, wit and personality, if Shakespeare were alive today, he'd probably shout "Bravo" a dozen times or more from the rafters. The character of Bottom, which, as everyone knows is famous for getting his handsome head transformed into the goofy-looking donkey by the elusive Puck, is tailor-made for Lavelle who dashes and romps across the "Midsummer" stage for well over two hours without ever missing a single beat. He is funny. He is crazy. He is over the top. He is Barnum and Bailey with a twinge of Federico Fellini and "Saturday Night Live" thrown in for extra measure. And  he's always chock full of wonderful surprises that Tresnjak pulls from his magical bag of tricks over and over without the slightest hesitation. What an actor! What a performance!

There is a beauty and grace to Jenny Leona's blonde, attractive Hermia that not only piques your interest whenever she's on stage, but makes her character one of the most vital and alluring of the star-crossed lovers. There is an urgent truth to her performance, her line delivery and her characterization that is both enchanting and riveting.  Tom Pecinka makes all the right moves as Lysander, the handsome, boyish young man who is forced to overcome many obstacles in his pursuit of love. He is a natural, resourceful actor who gets lost in the forest of mischief and merriment and aptly proves his character is a lovesick force to be reckoned with.

As the lovesick Demetrius, Damian Jermaine Thompson deftly portrays the angst and frustration of a fickle young man who falls quickly in and out of love. His pained expressions and decidedly different Shakespearean line delivery are absolutely perfect for his character and his participation in the story. Fenda Laure Jacquet, as Helena, delivers wonderful, impeccably timed pronouncements about love and its weepy, serious dilemmas and virtues. Like Thompson, she connects beautifully to the piece, its complications and delicious enchantment.

Will Apicella brings plenty of mischief and merriment to the sprightly, quick-witted Puck.  He sprints about the stage with ethereal agility, an enchanting Shakespearean voice and magical demeanor.  Playing the dual roles of Theseus and Oberon, Esau Pritchett is a commanding, brooding actor that offers two uniquely different characterizations like a skilled RSC professional.  The very strong and principled Titania, the fairy queen who is intoxicated with a love potion that has her fawning over a donkey's ass (Bottom, to be precise),  is majestically rendered by the beguiling Scarlett Strallen, a dynamic, charismatic actress with enormous stage presence, range and personality. Her characterization has plenty of allure and passion. Her perfect Shakespearean tongue would make every member of the RSC green with envy. Elsewhere, she plays the part of Hippolyta with appropriate demand, intention and icy snobbery.

Tresnjak's  bewitching production, aided by Alexander Dodge's evocative set design, Alexander Sovronsky's music, York Kennedy's lighting and Joshua Pearson's costumes, creates the complete "Midsummer Night's" world where strange things happen, spells whirl magically out of control, transient absurdity reigns, love conquers all and fairy dust goes a very long way.

"A Midsummer Night's Dream" is being presented at Hartford Stage (50 Church St., Hartford, CT), now through October 8.

For more information, call (860) 527-5151.

From the Desk of Jim R, Take 2, Column 31, A Review: "Oklahoma!" (Goodspeed Opera House)

By James V. Ruocco

One of the continual surprises of Rodgers and Hammerstein's 1943 musical "Oklahoma!" is its marvelously crafted, influential story, its big, old-fashioned musical score, its savvy, satisfying characters and its uncanny ability to keep its already excited audience lost in the prairie for nearly three hours.

And, when it works perfectly....case, in point....the Goodspeed Opera House's lush, compelling revival....it is not something you'll likely want to miss.

This "Oklahoma!" is gorgeous, confident, cheeky, sweeping, dangerous, sexual and dazzling. Everything about it is crisp, clear, creative and thrilling.
All this for a show that's been in existence for 74 years, and counting.

What's exciting about this particular production is that it completely avoids the stereotypical conventions associated with standard book musicals of yesteryear. This "Oklahoma!" stands tall and proud on the Goodspeed stage. It is zesty. It is colorful. It is bawdy. It is robust. It is lively. It is passionate. It is real. It is raw. It is honest.

Yes, it was first performed on Broadway in 1943. And, yes, there have been hundreds and hundreds (or should I say thousands) of revivals all over the world. That said, this "Oklahoma!" is decidedly different. And therein, lies its complete enjoyment.

As envisioned by director Jenn Thompson, this revival has a sense of pride, equality and entitlement to it. The story, of course, remains the same (cowboy Curly McLain romantically pursues farm girl Laurey Williams in the Oklahoma territory of the early 1900s)  But with Thompson at the helm, this "Oklahoma!" grows into something much more profound, curious and timely. Here, you get real honest-to-goodness people who live off the land, work hard for their money and look toward the future with newfound hope. They also just happen to sing beautifully and dance beautifully.

Staging the two-act musical, Thompson always knows exactly what buttons to push. And never once, does she stop the production dead in its tracks. Set changes, musical numbers, dances, sound and light cues, are expertly timed without hesitation. Having the actors enter and exit up and down the aisles of the actual theater (when necessary, that is) gives the production a three-dimensional feel and intimacy that works to full advantage
She has also cast the entire production with a group of actors and actresses who look and act as if they actually grew up in Oklahoma, circa 1906. This, in turn, gives the musical a more honed, realistic aura that other productions couldn't quite pull off. Thompson also draws us deep into the psyche of her characters, their story and their songs unobtrusively. It's a directorial conceit that works most advantageously and assimilates particular hindsight into our experience of the entire show.

Rodgers and Hammerstein's resourceful, playful and completely exhilarating musical score remains the high point of Goodspeed's splendid revival. Make no mistake about it, the songs themselves ("Oh, What a Beautiful Mornin'," "The Surrey With the Fringe on Top," "Out of My Dreams," "People Will Say We're in Love," "Many a New Day," "Pore Jud is Daid," "Oklahoma!") are musical theater classics and then some. Most people in the audience know them and love them. Some, in fact, can't resist the urge to sing along with the cast or flip through their playbill anxiously awaiting the start of yet another one of their favorite "Oklahoma!" songs. And that's all fine and dandy. Indulge! You betcha!

But this "Oklahoma!" takes things way beyond the conventions of old-fashioned musical theater. Instead, musical director Michael O' Flaherty puts his own definitive spin on the music and offers theatergoers something much more earthy, focused, character-driven and in-your-face. No candy floss. No camp. No nostalgia. No honey-dipped gooeyness.

Every one of the songs is completely realized and envisioned to let you see and hear it all the more clearly. Yes, some of the dialogue prompts the next song cue (that can't be helped), but everything in this revival is justified and sung with real feeling and purpose. O'Flaherty and his brilliant musical team retain "Oklahoma's" considerable charm and warmth, but adding additional fuel and pioneer spirit to the proceedings gives the production additional angst, drama, sexuality and level-headedness. There is that ray of sunshine, now and then, but it's hardly nostalgic or one-note. It's completely realized with considerable musical depth.

Katie Spelman's choreography is gritty, dramatic, vigorous and frenzied. She too avoids the standard conventions of typical musical theater choreography by offering something much more realistic, rustic and indicative of the show's surroundings, its characters, its pioneer flavor, its survivalist undercurrents and its darker elements. As "Oklahoma!" evolves, every one of her dances vibrates with a robust tenacity, beauty, exuberance or restlessness that makes it confident and three-dimensional.

The testosterone-fueled ''Kansas City,'' for example, robustly recreates one-man's colorful journey to the big city, backed by plenty of male dancing-chorus aggression, heat and camaraderie. "Many a New Day," in turn, evolves from pretty ditty about a certain fella to an all-too valuable lesson on how to deal with and handle the available men of the "Oklahoma!" story. Spelman also brings a dangerous electricity to the wildly exuberant and jaunty Act II opening "The Farmer and the Cowman,'' which celebrates the bitter rivalry between the local farmers and the cowboys.

The 15-minute "Dream Ballet," which portrays Laurey's troubled feelings over the two men in her life (Curly and Jud), is brilliantly reinvented for the Goodspeed stage. Performed by the entire "Oklahoma!" cast, this classic ballet sequence, offers theatergoers a fresh, uniquely different take on the original piece, created by Agnes deMille for the original 1943 Broadway production. It still, of course, adhere's to the concept and illusion of the original, but as devised by Spelman, it is even more haunting, emotional and nightmarish than that of previous incarnations. It is so hypnotic and tantalizing, you actually feel as if you've been thrust from your seat at Goodspeed and into Laurey's troubled, impossible dream.

In the role of Curly, Rhett Guter exudes just the right amount of charm, charisma, strong-will and sexiness, which is exactly what the part calls for. His characterization also benefits from a natural honesty and countrified persona that always keeps his Curly rooted in reality as "Oklahoma!" evolves and surprises.

Vocally, he clearly knows what musical theater is about. "Oh, What a Beautiful Mornin' " and the rousing title tune, are carried off with real verve and sunny enthusiasm. His slick interpretation of "The Surrey With Fringe On Top" has a timeless luster about it. "People Will Say We're in Love," his romantic duet with Laurey, is impressively romantic, comfortable and compassionate. Make no mistake about it, Guter and his very attractive co-star are the real deal. They exude a honeyed warmth and confidence that makes their budding stage romance the emotional focus of the musical without any sort of calculation.

Samantha Bruce's Laurey is something of a revelation.....and, so much more.
The innocence and wholesomeness that once personified this character has been replaced with a tomboyish spunk and drive that makes her Laurey more human, more real and more passionate.
This, in turn, adds plenty of fire and spark to her already mentioned dalliance with the handsome Curly and her growing uncomfortableness around Jud. Bruce's Laurey also has a wonderful sense of independence about her, similar to that of Molly Brown, Meredith Wilson's "unsinkable" pioneer woman.

Elsewhere, her song style and delivery is spunky, lusty, beguiling and resplendent. When singing "Many a New Day," "People Will Say Were in Love" and "Out of my Dreams," her take on all three musical numbers is rich in emotion and believability. It also comes completely from the heart.
 .

Jake Swain's wide-eyed, effervescent Will Parker quickly mandates the audience's affections with the beautifully sung "Kansas City," backed by the "Oklahoma!" male chorus. His dancing is wildly frenetic and jubilant, which is exactly what this signature piece calls for.

The actor also reflects his character's pioneer spirit, his love of the land and a dizzying freedom and lust for the opposite sex. In Act II, he has great fun with "All Er Nuthin'," his perfectly timed comic duet with Ado Annie about marriage, love, flirtation and romantic bliss. It's simply irresistible .

Gizel Jimenez executes all the right moves as the boy crazy Ado Annie. She's funny. She's spirited. She's magical. She's ever-willing. She's adorable. Her comedic "I Can't Say No," a colorful, comic-tinged song that reveals her unbridled delirium over men (all men, that is) is one of the evening's highlights. Jimenez is so much fun to watch, one eagerly awaits her every entrance.

As Jud Fry, Matt Faucher's rich, deep baritone voice lends itself nicely to "Pore Jud is Daid" and the passionate, visceral "Lonely Room' solo about Jud's desire to win Laurey over. It's a powerful moment, guaranteed to send shivers up and down your spine.

Dramatically, Faucher superbly projects the image of a disturbed, lonely and misunderstood man tortured by a troubled past and love that eventually prompts his untimely doom.

In conclusion, the overall excellence of this "Oklahoma!" should satisfy anyone with a penchant for a big Broadway musicals chock full of memorable songs, a captivating script and a very happy ending that will never go out of fashion. It is also a dazzling, crowning achievement for Goodspeed.

"Oklahoma!" is being staged at the Goodspeed Opera House (6 Main, St., East Haddam, CT) through September 27. For more information, call (860) 873-8668.

From the Desk of Jim R, Take 2, Column 30, A Review: "Company" (Barrington Stage Company)

By James V. Ruocco

That lost, perplexed, boyishly-handsome bachelor Bobby.
All that angst over not being married.
All that worry about not being able to find the right girl.
All those friends who arrive on his doorstep, year after year, for a surprise birthday party and cake that he simply would like to forget.
It's just not fair.
Or is it?

In "Company," Stephen Sondheim's lively 1970 Broadway musical, now being sumptuously revived by Barrington Stage, the 35-year-old Bobby, played by the sexy and charismatic Aaron Tveit ("Next to Normal," "Catch Me If You Can," "Grease Live"), spends a great part of the show watching his married friends kiss, cuddle, get stoned, get drunk, get divorced, fight, flirt and tell him for the umpteenth time why he shouldn't be alone.
He listens and observes with bemusement and envy. And he responds, all too well.
But oddly, he's afraid of making a commitment. He likes being single. He likes having sex. And yes, he's always willing for another door to open and take him on a brand new adventure.
Who could blame him?

As played by the enigmatic Aaron Tveit, Bobby's complicated plight and final resolution, is real, raw, honest, soulful, cheerful, passionate and very moving. There's also a vibrant charm, passion and natural dreaminess to the character that makes Tveit's interpretation of Bobby much more believable and grounded than that of his Broadway predecessors Dean Jones, Larry Kert, Boyd Gaines and Raul Esparza. Back then, all four were simply acting out a part and nothing more.
Here, Tveit plays Bobby. But he also owns the part. Big difference.

From the moment he appears on the Barrington stage, he is Bobby, front and center, backwards and forwards, etc. Moreover, there's real talent behind that boyish allure mixed with just the right amount of poise, presence, flair and personality. Sure, it's all rehearsed, but Tveit makes us believe we're seeing his Bobby for the very first time. There is nothing remotely calculated about his facial expressions, line delivery, body language or interaction with the other onstage actors. Though he wasn't born when "Company" was first conceived, you'd swear Sondheim and playwright George Furth wrote Bobby with Tveit in mind.
It's the musical performance of 2017. And one, you'll want to see again and again.

Vocally, Tveit's voice is beautiful, polished, strong, commanding and natural. He pays close attention to the beats, lyrics and different rhythms of every Sondheim song he sings. And when he takes center stage and joins the entire cast for a song or two, he avoids that annoying grandstanding you find in other Sondheim shows where the lead actor looks you right in the face with private thoughts that cry out, "Hey, look at me. I'm in a Sondheim show."

With the emotional "Being Alive," Tveit passionately reveals the quiet longing and intimacy Bobby desires with another person. The stirring "Marry Me A Little" conveys his confusion and doubt over a real relationship while "Someone Is Waiting" poignantly portrays the character's quiet yearning for that special something collectively shared by his married friends.

Anyone familiar with the musicals of Sondheim ("Into the Woods," "Sweeney Todd," "Follies") immediately knows that in order for a show to work both musically, dramatically and theatrically, you must have a director who completely understands the intricacies, dynamics and colors of the story, its music and lyrics, its characters, its rhythmic wordplay, its quirks, its beats, its ticks, its sensations and its pulses. Enter Julianne Boyd, the tremendously talented director of Barrington Stage's "Company."

Staging the two-act musical, Boyd brings real purpose, depth, understanding and vision to her splendid, five-star incarnation of Sondheim's popular 1970's musical. She embellishes the flip, satiric and poignant underbelly of the composer's and author's vision, its atypical language and fragmented scene structure, its twisty predicaments, its playful paradoxes, its juicy revelations about marriage and divorce, its sexual content, both straight and homosexual, its cowardice, its icy sarcasm and its surprise twists of fate. 

There's a lot going on here. And, yes, there's a lot to digest in this production, which takes its cue from the 1995 Roundabout Broadway revival that featured new dialogue by George Furth, the addition of one new song ("Marry Me A Little")  and the inclusion of some intriguing facts about Bobby's bisexuality and hints of a homosexual flirtation rallied by his best friend Peter.

Regardless, it all comes together quite swimmingly.

Boyd always know what buttons to push, where to put the primary focus, how to build and develop a given scene, how to thrust each principal character or supporting character into the spotlight, how to introduce an individual song or production number and lastly, have it play out entirely without bringing the onstage action to a halt or failing to reach the intended vision of its creators.

Boyd is such a clever, ingenious auteur, this "Company" far surpasses the brilliance of the original 1970 Broadway production, the fanciful 1995 Broadway revival and the salty and pungent 2006 Broadway edition where most of the actors played their own musical instruments. At Barrington, you are never once reminded that "Company" was created 47 years ago. With Boyd at the helm, it's as if you're seeing this Sondheim musical for the very first time.

Kristen Robinson's set design, Brian Tovar's lighting and Sara Jean Tosetti's costuming, heighten the allure.

The inevitable greatness of "Company," of course, also comes from Sondheim's pungent, prolific, saucy and melodic musical score. From sweet and bouncy ensemble numbers about friendship and the right girl to a patter song about not getting married today and others about sexual enticement, renunciation, rebirth, being single, commitment, bored housewives, loneliness and vodka stingers, the composer/lyricist casts his spell all over you, reels you in for the night and lets you happily bask in the lyrical beauty, wit, drama, tension, uncertainty and snappy sarcasm of his brilliant, celebrated "Company" score.

In the more than capable, inventive hands of musical director Dan Pardo, Sondheim's imaginative musical arrangements and vocals glide merrily across the Barrington Theatre stage with decided interest, gusto, color, joyfulness, purpose, passion and artful precision. Every single song, lyric and pulsating beat is marvelously recreated by Pardo and his orchestral team, which, in turn, allows the material to breathe, beguile and enchant just as Sondheim originally intended.

It's all here: popular solo numbers that inch their way into duets; trios that evolve with perfect pitch and harmony; complicated ditties that work their way into larger production numbers; and delectable character turns that stun, excite and thrust the action forward without hesitation. Not a piece of the Sondheim "Company" puzzle is missing under Pardo's dynamic guidance.

The upbeat, inspired choreographic style of Jeffrey Page is well suited for "Company's" surprisingly simple and playful production numbers. Every one of them, including the title opener and "You Could Drive a Person Crazy" are upbeat, smart, witty and ingeniously conceived without any sort of nostalgia or datedness. Nonetheless, Page is also not afraid to take chances. He wisely cuts the frenzied solo dance number "Tick-Tock," which was created for Donna McKechnie in the original 1970 Broadway production and would probably bore the Barrington Stage audience to death and add little relevance to the night's proceedings.
Elsewhere, Page completely reinvents "Side by Side by Side," which opens Act II of "Company." Originally, this production number was staged with top hat and cane and danced by most of the cast. Here, Page concocts a splendid, revelatory song-and-dance sports number which respects the soft-shoe elements of the original, but unfolds with such athletic excitement and brio, you happily applaud and cheer its choreography until your hand hurts. Well done, Mr. Page.

The supporting cast of "Company" is personable, dynamic and perfectly in sync with all things Sondheim. In the role of Joanne, the part made famous by Elaine Stritch in the original 1970 Broadway production, Ellen Harvey puts her own spin on the drunken, often delusional character, the show-stopping "Ladies Who Lunch" and just about everything she does and says in the production. While Stritch will always be connected to "Company," Harvey, nonetheless, is the real deal.
Her boozy, stinging interpretation of  "Ladies Who Lunch," Sondheim's  brilliant assault of women who live off their husband's paychecks, plan parties and brunches, attend Broadway matinees and shop uncontrollably, explodes with the glacial sarcasm and wit he intended. It also reveals a private, troubled side to Joanne that was missing from both the 1995 and 2006 Broadway production of "Company." Harvey, in turn, never misses a beat, vocally or dramatically. You can't help but love her, or wish she could be your very best friend.

Lauren Marcus as Amy, the bride-to-be who suffers a major anxiety attack on the day of her wedding, practically stops the show with "Getting Married Today," Sondheim's marvelously fast patter song that vocally and comically reflects the character's complete, rapid meltdown. Marcus beguiles in much the same way as Beth Howland did way back in 1970, but takes it to a new level using some choice lyrical phrasing and comedy shtick that suggests a very young Carol Burnett.

Playing dumb and clueless without any hesitation, the gorgeous, sexy Mara Davi gives the character of airline hostess April a delicious sweetness and confused pizzazz that's so beautifully conceived (her comic timing is impeccable), you quickly forget every other actress who played the part including Susan Browning and Jane Krakowski. Her "Barcelona" duet with Tveit is pitch perfect and completely charming. Her bedroom seduction scene, also with Tveit, is hilariously staged and choreographed by Boyd. Both actors are incredible.

Nora Shell, cast in the role of Marta, another one of Bobby's girlfriends, delivers a powerhouse rendition of  "Another Hundred People," that popular Sondheim song that deftly attacks the N.Y. lifestyle and it's phony, impersonal inhabitants. This show-stopping vocal literally blows the roof off of  Barrington Stage. You'll love it!

Also impressive as both actors and singers are Joseph Spieldenner (Paul), Rebecca Kuznick (Kathy), James Ludwig (David), Kate Loprest (Susan), Paul Schaefer (Peter), Jane Pfitsch (Jenny), Lawrence E. Street (Harry), Peter Reardon (Larry) and Jeannette Bayardelle (Sarah). Every one of them is perfectly cast for their respective roles and quite adept at bringing Sondheim's "Company" magically to life on the Barrington Stage.

"Company" is being staged at Barrington Stage Company (Boyd-Quinson Mainstage, 30 Union St., Pittsfield, MA) through September 10.

For more information, call (413) 236-8888

From the Desk of Jim R, Take 2, Column 29, A Review: "Raging Skillet" (TheaterWorks Hartford)

By James V. Ruocco

Snickers, marshmallow and potato chip casserole.
Soba noodle salad with scallions shavings and toasted sesame dressing.
Black rice salad with baby shrimp and barbequed sweet corn.
Turkey bacon swathed in gooey peanut butter.
Wild mushroom won-tons with red pepper and miso dip.

When it comes to food, the amazingly talented Chef Rossi offers quirky, offbeat dishes that are completely edible but uniquely different from your everyday caterer.
Never flat, boring or decidedly bland, these colorful, trendy, wacky and wonderful treats will wet your palate in ways that will leave you not only deliriously happy, but shouting Chef Rossi's name from the rooftops, the back yard, the penthouse, the jacuzzi, the car and even your kitchen sink.
And that, in a nutshell, is exactly what separates Rossi from the rest of the wolves (caterers, if you prefer) out there in la la land.

How Rossi became a chef, a lesbian, a free-spirit, a rebel and an anti-caterer of sorts is the subject of Jacques Lamarre's brand new play "Raging Skillet," a quirky, snappy and refreshing soufflé chock full of  recipes, food,  shtick, scrapbooks, one-liners, remembrances, pathos, heart, soul, Jewish guilt and chutzpah. And oh yes, audience participation.
Is it funny?
Most definitely.
Is the food good?
Yes, indeed.
Are you likely to you use Rossi as a caterer?
Of, course.
When should you contact or hire her?
Immediately following the performance of "Raging Skillet" at TheaterWorks.

Using Rossi's popular memoir "Raging Skillet" as his lifeline, Lamarre gives his audience a 90-minute comedy that delves head first into her mad and complicated life, offering just enough information to keep the play afloat without any dead weight, abrupt halts or bits and pieces that seem thrown in just for the sake of time without purpose.
He definitely knows how to get a laugh and he definitely know how to deliver them one by one at breakneck speed to the point where you're constantly wiping away the happy tears dripping down your face or slapping yourself silly from laughing so hard. It also helps if you understand the Jewish-Orthodox religion, Yiddish, the Catskills and that nagging sensation that exists between a Jewish mother and her daughter. If you don't, call the rabbi, call the synagogue or call 1-800-YENTE.

The actual play takes place during the launch of Rossi's "Raging Skillet" book. Throughout the production, the chapter titles of her book are flashed onto both sides of the stage, thus, noting, the passage of time and years. But since the play clocks in at a mere 90 minutes, Lamarre can only tell us so much, which, at times, leaves certain segments rushed, disjointed or uneven. The addition of at least another 20-30 minutes is wisely suggested along with the 2-3 more characters. That, in turn, would give "Raging Skillet" more depth, color, character and resolution.

Staging "Raging Skillet" director John Simpkins keeps Rossi's story of interest through choice direction, staging, movement, character interaction and the occasional use of his already excited audience who happily lap up the food that's passed around the theater when the script demands it. He knows where to put the focus, how to get a laugh or tear, how to believably move his cast freely about the stage without any calculation and how to thrust his audience unobtrusively into the proceedings.
Michael Schweikardt's brilliant, fully-functional, superbly crafted kitchen design also heightens the play's momentum as does Julian Evans perfectly-timed sound effects and John Lasiter's crafty lighting.

In the pivotal role of Chef Rossi, Dana Smith-Croll is instantly warm, likeable and spirited. She connects immediately with the audience from the moment she appears on stage and often makes them forget that they are watching and listening to an actress and not the real Rossi. In the kitchen, she is "spot on" cajoling about her recipes, cooking them and putting them together. Her many mother-daughter scenes are rife with real emotion and depth. And when she is alone on stage looking through her mother's "book" near the end of the play, your heart just breaks and breaks in ways that it is intended to by the playwright.

The casting of Marilyn Sokol as Rossi's deceased mom who shows up unexpectedly at the book signing is a stroke of genius. She is brilliant, outstanding, mesmerizing, personable, magical, dynamic and wonderfully vaudevillian. It's the comic performance of the year and one that is fraught with real emotion, depth, honesty and personality. She doesn't just play a part, she owns it in much the same way as Bette Midler owns Dolly Levi in the current Broadway revival.

In "Raging Skillet," she is the quintessential overbearing Jewish mother, but without the caricature or expected calculation. Sokol is the real deal. Her facial expressions, her body language, her line delivery, her stage movement and her interaction with the other actors, is spontaneous and "spot on." She is such an amazing actress, you can't take your eyes off her for a moment, for fear you might miss some of the cut-up zaniness, zest and fascination she brings to the role. Hopefully, TheaterWorks will bring her back for another play next season or simply resurrect her one-woman show from yesteryear.

In the role of DJ Skillit,  the very talented George Salazar has the enviable task of playing several characters in Rossi's life, depending on the situation, the moment and the remembrance. It's a feat that he pulls off swimmingly much to the delight of the audience and the other on-stage actors. He's funny, personable, charming, energetic and hammy. His interaction with the audience is absolutely perfect, especially when passing out some of Rossi's delectable treats, ad-libbing or flirting with some of the ancients or blue hairs from West Hartford, Westport and Simsbury.

"Raging Skillet" is a witty, insightful and quirky work that sheds interesting light on one of the most fascinating and creative women in the foodie industry today. Her recipe for life....and food itself...is contagious. Enjoy!

"Raging Skillet" is being staged at TheaterWorks (233 Pearl Street, Hartford, CT) through August 27.

Performances are Tuesdays through Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2:30 and 8 p.m. and Sundays at 2:30 p.m.

For more information, call (860) 527-7838.