From the Desk of Jim R, Take 2, Column 104, A Review: "El Huracan" (Yale Repertory Theatre)

By James V. Ruocco

Metaphors.
Magic.
Hurricanes.
Memories.
Guilt.
Rebellion.
Struggles.
Ocean waves.

La familia.
Bailando.
Separacion.
Muerte.

This is the world of "El Huracan," Charise Castro Smith's absorbing, hypnotic, intellectually challenging world premiere drama that looks at life, past and present, with such passionate fluidity and attentiveness, it awakens that familial heartbeat in all of us.

Here, you get flat-out truths, raw, real and broken, mixed with a scrapping lyricism and fragility that is stripped bare by the playwright who leaves no stone unturned. Then again, that's the point of the piece, which allows clear and not-so-clear views of life, its engine of conflict, its undermining twists of fate, its crashing blows and its bleeding remembrances.

Es hermoso, a lo largo de.

The production, which kicks off Yale Rep's new 2018-2019 season, charts the chaos, pain and damage incited by 1992's Hurricane Andrew and Hurricane Penelope, a fictitious one that occurs in 2019. At the center of the story, set in Miami, is a Cuban-American family, played by six different actors, all of whom assume multiple roles, often playing younger or older versions of themselves, achieved through quick-change costuming and well orchestrated character turns that are effortlessly conceived with Drama Department verve by this tremendously talented Yale Rep ensemble.

As scripted by Smith, "El Huracan" begins with an older, confused woman wandering alone onstage watching a younger version of herself dance (a la Fred and Ginger) and perform a simple magic act with a handsome male assistant, dressed in tails, looking lovingly into her eyes. This engaging, romantically-tinged remembrance is backed by Frank Sinatra's sweet-sounding "Come Fly With Me," the 1957 song hit that is lovingly weaved in and out of the action until the lights fade and it becomes a distant memory.

Flash forward, it's 1992. Much later, it's suddenly 2019.

Scene by scene, "El Huracan" drifts back and forth in time, presenting scenes in both Spanish and English, which, regardless of one's background and grasp of a second language, are pretty easy to follow based on the individual moment, the direction, the expressions, the body language and the actual line delivery of the performers. It's a concept that heightens "El Huracan's" already steadied velocity.

To bring "El Huracan" to life, Yale Rep has enlisted the talents of the very capable Laurie Woolery to take hold of Smith's redemptive and gripping story and give it the life it so richly deserves. A playwright, educator, producer and director, Woolery has worked at several prestigious theaters across the country including the Kennedy Center, the Goodman Theatre, the Public Theatre and the Cornerstone Theater Company. Bringing her back to New Haven (in 2017, she staged "Imogen Says Nothing") is a coup for both actor and the audience. And lastly, for Yale Rep.

Bienvenido de nuevo.

Under Woolery's inspired  direction, "El Huracan" is daring and truthful, overflowing with tremulous vitality and good intention. It is forceful when it needs to be. It is sentimental and illuminating, when called for. It is edgy and heartbreaking, depending on the moment. It is sexy and peculiar when the right moment strikes. It also swims beautifully between realism, dream and memory.

Because Woolery understands the piece backwards, forwards, front and center, each scene she develops smartly complements the intimate and raw intentions of Smith's evocative character study. She knows what works and what doesn't. She know when to pause, hold or jump start a moment, a character twist or expression. She moves the actor's freely and intuitively about the vast, handsomely designed set by Gerardo Diaz Sanchez. And when things are stripped bare (parts of the set disappear to reveal the back wall and wings of the University Theatre), to signal loss, decay and destruction, this particular directorial choice and others (stage hands move scenery or help actors dress and undress in full view of the audience) makes perfect scene.

"El Huracan" stars Adriana Sevahn Nichols as Valeria, Maria-Christina Oliveras as Ximena, Jennifer Paredes as Alicia, Val and Dr. Kempler, Arturo Soria as Young Alonso, Fernando and Theo, Irene Sofia Lucio as Young Valeria and Miranda and Jonathan Nicholas as Alonso.

Gifted, talented and focused, all six performers stand out individually or in scenes, where they work together as one important, unified ensemble. They love what they do and it shows. They are so very right for the role or roles they have been asked to portray. Their intuitive level of trust, dedication, drive and synchronicity is unbeatable. Their understanding and knowledge of the material is pitch perfect. They demand and command attention right from the start. And everyone, skillfully develops their very different roles and characters in accordance with the plot machinations of Smith's timeless and truthful story.

"El Huracan" is a striking, heartfelt production. It contains some very electrifying dramatic, tender and wistful moments that add depth to Smith's already emotional story. It gives you plenty to think about. It gives you plenty to admire. And when it's finally over, the overall effect of the story and its people, lingers.

Vaya y disfrute!

Photos by T. Charles Erickson

"El Huracan" is being staged at Yale Repertory Theatre (University Theatre, 222 York St., New Haven, CT), now through October 20.

For tickets or more information, call (203) 432-1234

website: yalerep.org.

From the Desk of Jim R, Take 2, Column 103, A Review: "The Grapes of Wrath" (Connecticut Repertory Theatre)

By James V . Ruocco

If there is a reason why "The Grapes of Wrath" is oft-revived, look no further than Connecticut Repertory Theatre's resplendent, stellar revival of the play inspired by John Steinbeck's literary classic.

It dances.
It sings.
It taunts.
It stirs.
It inspires.
It provokes.

It is one of the major highlights of the new fall theatrical season, smartly directed by Gary English and backed by the first-class design team of Kristen P-E Zarabozo (scenic design), Joey Morrissette (lighting design), Darby Newsome (costume design) and Teddy Carraro (sound design).

It also reconfirms CRT's reputation as a major Equity showcase dominated by ambitious, responsible, uncluttered theatrical fare that is fresh, inventive and relevant.

So, what's not to like?
Absolutely, nothing.

This "Grapes of Wrath" soars.

Written for the stage by Frank Galati, this thought-provoking, two-act drama recalls the Dust Bowl migration of the 1930's to tell the story of one Oklahoma farm family....the Joads....forced from their dusty homestead to travel west toward California to begin a new life with big hopes and dreams and only a pocketful of money between them.

At Connecticut Repertory Theatre, "The Grapes of Wrath" is being staged by acclaimed director Gary English whose directorial credits include "Pentecost," "Galileo," "Julius Caesar," "Olives and Blood," "The Island" and "The Miracle Worker." With this production, he brings a ferocious, impassioned urgency to John Steinbeck's forever classic story, propelled by a cinematic, fluency that is energetic, intimate and mellifluous, as required.

The smoothness of this presentation benefits from English's deft, steadied hand, his knowledge of the original source material, its irony and pathos, its translation from novel to play form and the enormous humanity of the characters, their spirit, their calamity, their exploitation and their endurance.

English also infuses his telling of "The Grapes of Wrath" with the gritty insight and harsh realities of the Depression era. It's all here: the anti-migrant prejudice, the dashed dreams and hopes of its people, the homelessness, the poverty, the corruption, man's inhumanity to man, the personal tragedies, the massive obstacles and the uncertainty of life on the open road. There's also an achingly tenderness and rawness to the piece.

Like the Steinbeck novel, this production has lots to tell as it focuses primarily on the Joad's eventual cross-country journey to the golden land of opportunity. With creative staging that is fast and fluid, English keeps the stage heavily populated, when required or decidedly intimate, depending on the storyboard dictated by the playwright. The director also surrounds himself with a cast of well-chosen actors who perform confidently and are fluent in the recitation of Steinbeck's language, as set forth by the playwright.

"The Grapes of Wrath" stars Mauricio Miranda as Tom Joad, Angela Hunt as Ma, Joe Jung as Jim Casy, Aaron Bantum as Muley Graves/Floyd Knowles, Alex Campbell as Rose of Sharon, Aidan Marchetti as Connie Rivers, Johanna Leister as Granma, Dale AJ Rose as Granpa, Ken O'Brien as Pa (Tom Joad, Sr.), Rob Barnes as Singer/Narrator, .Sebastian Nagpal as Al, Annie Rossi as Winfield and Nick Greika as Noah/Willy Freeley,/Major of Hooverville.

Everyone stands out, individually or working opposite one another in pairs, trios or one big ensemble.
Up close, "The Grapes of Wrath" is not an easy show to pull off.  But luckily for us, English has assembled an intelligent, crafty lot of actors who possess the necessary drive, spirit, intuition and spark to bring this particular drama to life. Their intuitive level of trust, dedication, stamina and synchronicity is unbeatable. Their understanding and knowledge of the material is uncanny. They demand and command attention right from the start. And everyone, skillfully develops his or her character in accordance to Steinbeck's masterpiece and its tangible sense of period authenticity.

Many of the actors, particularly those in the ensemble, perform live, folksy, bluegrass music in the show. Their singing, fiddling, guitar strumming and high-spirited dancing not only brings additional color and nuance to the piece, but creates a rich, moody and smokey atmosphere that ties individual scenes together and lets other pivotal moments settle and breathe. It's a create process that is deeply relevant, nostalgic and timely.

As often is the case with  various CRT productions, directors (in this case, English), utilize the talents of actors from the University of Connecticut's theater department and other arts-oriented programs (all creative levels) on campus to play a part in their productions. In "Grapes of Wrath," several of these actors play multiple roles, which require fast costume changes and very different character turns. All of them succeed swimmingly, blending seamlessly into the framework of the story alongside the more experienced adult actors. They are not only amazing actors in the making, but ones who should have no trouble finding work in professional theater after they finish their studies at the University of Connecticut.

In conclusion, "The Grapes of Wrath" is an iconic, fascinating, character driven piece of American theater that articulates beautifully. It is personal. It is heartfelt. It is absorbing. It is inspiring. And under Gary English's determined, thoughtful direction, it is completely unforgettable. And, then some.

"The Grapes of Wrath is being staged at Connecticut Repertory Theatre (Harriet S. Jorgensen Theatre, 2132 Hillside Rd., Storrs, CT), now through October 14.

For tickets or more information, call (860) 486-2113

website:  crt.uconn.edu.

From the Desk of Jim R, Take 2, Column 102, A Review: "Jekyll & Hyde" (Music Theatre of Connecticut)

By James V. Ruocco

"Jekyll & Hyde" is an oft-produced musical for many reasons.

To begin, there's the story itself: a good vs. evil scenario involving the creation of Dr. Jekyll's alter personality, the very twisted, murderous Edward Hyde.

Frank Wilson's commanding musical score, is yet another important element.

As is, the musical's London setting, its sinister plot machinations, its violence and murders, its unnerving twists and turns and more importantly, the havoc it wreaks on unsuspecting members of the audience.

The latter is amped to deliciously wicked perfection in Music Theatre of Connecticut's enthralling production of  "Jekyll & Hyde," a musical event that tears you emotionally in half and one that will leave you reaching for that treasured bottle of scotch, gin or brandy bottle tucked away in your antique liquor cabinet, the trunk of your car or under your bed with other unmentionables.

Dark.
Emotional.
Edgy.
Hypnotic.
Heartfelt.

This "Jekyll & Hyde" demands to be seen.

It takes itself seriously without any camp, Victorian tomfoolery, cliches or stereotypes.

Its haunting undercurrents bookend the show.

It's chock full of sexual ersatz.

And finally, it never once makes the mistake of taking the material or its audience for granted.

Staging "Jekyll & Hyde" for Musical Theatre of Connecticut is Kevin Connors, a deft, important and savvy interpreter whose directorial credits include "Evita," "Master Class," "Next to Normal," "Gypsy," "Doubt" and "The Fantasticks," among others. With this production, he crafts a brilliant, mesmerizing tale of dual identities and horror that grabs you by the throat, pushes you over the edge and leaves emotionally drained, as well it should be.

The space itself, small, intimate and inviting, thrusts the audience into the piece as both participant and voyeur. This concept works most effectively as actors enter and exit through the audience, pausing now and then to entice, delight, stop or scare certain individuals. Or even better, when the lights go out, flash, change color or the music builds to a crescendo as Jekyll morphs into Hyde or vice versa. What's especially gratifying about the latter, is that you never know what's going to happen next or what Connors has up his sleeve, good, bad or scary.

Using vivid, imaginative three-quarter staging to tell the "Jekyll & Hyde" story, backed by only select set pieces and black, cut-out backgrounds and draperies, Connors sets everything in motion splendidly, always making the right, creative decisions to make the material fly. He also takes chances, one of which heightens the Gothic aura of the piece. In this go round, there is an element of 19th century Whitechapel mystique and spookiness representative of the Jack the Ripper murders and crimes that heightens this edition's emotional, scare-tactic velocity. It's an ingenious plot device that oddly was conspicuously absent from both the original Broadway production and the National Tour. Here, it works wonders. Well done, Mr. Connors.

The musical score for "Jekyll & Hyde" is perhaps composer Frank Wildhorn's most appealing work, ranking just slightly above the equally inspiring "The Scarlet Pimpernel." It is harmonious. It is driven. It is well-plotted. It complements the show's twisty horror elements. Every one of the songs is appropriately placed and positioned. Nothing looks or sounds out of place. Each of the musical numbers that are given to the principal, supporting or ensemble cast members are sharp, focused, melodic and intuitive.

Since its inception, "Jekyll & Hyde" has changed its face through many incarnations, including both the Broadway and National Tour and earlier editions at The Alley Theatre and Theatre Under the Stars in Houston, Texas. Songs have been added. Songs have been dropped. Songs have been revised. The order in which they are sung in both Act I and Act II has also been up for debate depending on Wildhorn's creative prowess and theatrical whims.

Here, at Music Theatre of Connecticut, this "Jekyll and Hyde" adheres to the plot machinations and song list from the original Broadway production. As penned by Wildhorn (music) and Leslie Bricusse (lyrics), the two-act musical retains its assorted blend of showstoppers (there are many including "In His Eyes," "This Is the Moment," "Once Upon a Dream," "A New Life" and "Take Me As I Am," to name a few) its able-bodied pop ballads, its grand, operatic pronouncements, its Gothic-tinged beats and rhythms, its passionate solos and glorious, 19th century anthems.

Musical direction for this "Jekyll & Hyde" is offered by the very talented David Wolfson (conductor/keyboards) and band members Paul Feyer (second keyboard), Susan Jiminez (cello), Chris Johnson (drums) and Natalie Kriegler (violin). Everything is timed and orchestrated in accordance to the show's original concept and themes with subsequent changes here and there to adhere to the intimate, environs of the Music Theatre of Connecticut space during scene changes or subsequent musical interludes that require 30 seconds or more of additional vocals or orchestrations. It all comes together and sounds so beautiful, even Wildhorn would be moved.

As "Jekyll and Hyde" makes its mark, Wolfson builds and fashions each of the musical numbers according to the blue print set forth by Wildhorn and Bricusse. Songs unfold naturally without question or awkwardness, helped by the sheer energy of the entire cast, who step forth, in character, to sing a variety of musical moments, styles and flourishes that are all beautifully conveyed and exhibited under Wolfson's  exceptional guidance and tutelage.

"Jekyll and Hyde" stars Andrew Foote as Dr. Henry Jekyll/Edward Hyde, Carissa Massaro as Emma Carew and Elissa DeMaria as Lucy Harris.

Foote is upright and dashing as Dr. Jekyll and evil and twisted as Edward Hyde. He moves between the two characters effortlessly. His transformation is explosive, incredible and scary. And when he sings, his voice is alive, powerful and exciting in ways that would make both Wildhorn and Bricusse stand up and cheer.

Massaro's portrayal of Emma Carew is strong, emotional, beguiling and personable with none of that Victorian pandering or posing found in other period musicals. Vocally, her voice is strong, sure and radiant, which is exactly what the part and the vocals call for.

The full-voiced DeMaria is a knockout as Lucy Harris. Vocally, she doesn't copycat the show's original creator Linda Eder (the star of the Broadway production and pre-Broadway tryout). Instead, she offers brassy, bold, confident, focused vocals that stand on their own and warrant full applause at every musical turn. Acting wise, she communicates the angst, passion and lowliness of her prostitute character with equal dexterity.

"Jekyll and Hyde" is the first of four productions from the Music Theatre of Connecticut 2018-2019 season line-up. Waiting in the wings are "Cat on On Hot Tin Roof," "Always...Patsy Cline" and "Cabaret." It is a haunting, eerie, thrilling piece of theater, superbly directed by Kevin Connors and voiced by a full-bodied ensemble cast that gives Frank Wildhorn's celebrated musical the angst and passion it so richly deserves.

Photos of "Jekyll & Hyde" by Heather Hayes. 

"Jekyll & Hyde" is being staged at Music Theatre of Connecticut (509 Westport Ave., Norwalk, CT), now through October 14.

For tickets or more information, call (203) 454-3883.

website: www.musictheatreofct.com/

From the Desk of Jim R, Take 2, Column 101, A Review: "Man of La Mancha" (Westport Country Playhouse)

By James V. Ruocco

It's a story that's been told over and over again, since its inception, 53 years ago.

Nonetheless, there is nothing shopworn, dated or sleepy about the latest incarnation of Dale Wasserman's idealistic parable "Man of La Mancha."

The time lord ("Who?" "Not the Doctor?") overseeing Westport Country Playhouse's invigorating revival of the 1965 Broadway classic is Mark Lamos, a theater auteur and guru whose directorial credits include "Romeo and Juliet," "Tiny Alice," "The Rivals," "Our Country's Good," "Into the Woods" and "Cymbeline," to name a few.

A visionary who often bends the rules to his own liking, Lamos crafts a daring, bold revamp that thrusts this play-within-a-play in a new light that is absolutely dazzling.

Searing.
Flavorful.
Brave.
Grand.
Articulate.

This "Man of La Mancha" flows with ease, vitality and anger. It can be bloody dark or achingly real. Playful or witty. Emotional or symbolic. Acutely aware or truthful.

No matter.
It works on every level.

The story, in a nutshell, goes something like this.

Miguel de Cervantes, an aging, delusional playwright, poet and tax collector, has been thrown into a Spanish dungeon in Seville to await trial by the Inquisition for crimes against the Church. Among his possessions are an uncompleted manuscript titled "Don Quixote," which he utilizes as his defense in the form of a play involving an impromptu court made up of his fellow prisoners. Donning make up, costumes and assorted hand props, everyone acts out the story as "Man of La Mancha" drifts back and forth from reality into fantasy until Cervantes is summoned to his real trial by the Inquisition.

As directed by Lamos, "Man of La Mancha" finds meaning in absurdity, delusion, pathos and comedy without ever missing or skipping a beat. It also delves deeply into other matters of Wasserman's story involving rape, prostitution, madness, fate, deceit, honor and hope. With the groundwork positioned  by the show's creators, Lamos lets the material build, develop and breathe both musically and dramatically. Everything is cleverly mapped out from how to move the action forward, how to place each and every one of the actors into the two different stories, how to have them stand, watch and observe from the sidelines and how to use split second timing via actor mode to change from one character to another, then back again.

That said, the show itself remains as potent as ever, with Lamos introducing additional nuance, color, complexity, sexiness and dash to the proceedings. He paints such interesting pictures (the actual stage blocking/arrangement completely mesmerizes), if you look away for a single moment, you might just miss a very important bit of stage business important to his retelling and retooling of the fabled "Man of La Mancha" story.

Winner of five Tony Awards including Best Musical and Best Original Score, "Man of La Mancha" contains 26 musical numbers. As written by Mitch Leigh (music) and Joe Darion (lyrics), they include "The Impossible Dream," "Dulcinea," "I'm  Only Thinking of Him," "I Really Like Him," "Aldonza," "Little Bird, Little Bird," "Man of La Mancha," "It's All the Same," "What Does He Want of Me," " "To Each His Dulcinea" and "Golden Helmet of Mambrino."

The score, an intoxicating mix of songs utilizing fiery flamenco beats, tangy rhythmic percussions, sultry undercurrents and melodic twists and whirls, offers theatergoers an assorted grab bag of arresting ballads and anthems, comic tilts, beguiling hymns and bawdy, in-your-face  pronouncements. As with most musicals from this period, there are a multitude of songs that exist mainly to thrust the story action forward, coupled with many, many showstoppers. The latter, of course, includes "The Impossible Dream," "Man of La Mancha," "I'm Only Thinking of Him," "Little Bird, Little Bird" and "To Each His Dulcinea."

At Westport Country Playhouse, musical direction is provided by Andrew David Sotomayor  who makes his WCP debut with his production. He is joined by fellow musicians Ben Clymer (trombone), Simon Hutchings (reeds), Joseph Russo (strong bass), Nicholas DiFabbio (guitar),  Daniel Louis Duncan (trumpet), Marshall Sealy (french horn) and Arei Sekiguchi (percussion). Musically, things are smooth, skillful and resourceful and played out exactly as written by the show's composer and lyricist. There are occasional modernist flourishes which work wonderfully well, but nothing that detracts from the story, its music and its well-plotted advancement. Vocally, the cast, under Sotomayor's tutelage, is superior, singing with resounding, beauty, punch and power.

One of the particular pleasures of this production lies in Marcos Santana's fluid, frenzied, feverish choreography. It blazes into life in such robust, inventive ways, it compels admiration at every intricate twist, turn and variation. A visionary of sorts, Santana pays homage to the musical's dancing past, including its handsome galloping horses, but amps things up with modernist twists involving excessive crotch-grabbing, simulated sexual intercourse and blatant male-female gyrating and groping. Elsewhere, there's also lots of well-orchestrated stomping, positioning, stalking, posing, twisting, turning and stop and go maneuvers that heighten the musical's momentum, drama, its reality/fantasy story and its Spanish-tinged environment.

"Man of La Mancha" stars Philip Hernandez as Cervantes/Don Quixote, Gisela Adisa as Aldonza, Tony Manna as Sancho Panza, Paola Hernandez as Antonia, Lulu Picart as Maria/Housekeeper and Carlos Encinias as Padre.

Hernandez not only plays the dual roles of Cervantes and Don Quixote with natural conviction but completely owns them. An exceptional, charismatic actor, he superbly projects the fanatical, delusional, gallant and mad traits associated with the character. And when he sings such showstoppers as "The Impossible Dream" and "Man of La Mancha," among others, his voice is rich and full of glorious passion. In the role of the earthy, often taunted and abused village whore who captures Don Quixote's heart, the beautifully voiced  Aidisa offers a full-bodied dramatic turn rich in character, nuance and emotional drive. As Don Quixote's ever-pleasing sidekick, Sancho Panza, Manna nicely projects the mirthful glee associated with this comic role without resorting to overkill. Ms.Hernandez and Ms. Picart who play Antonia and the Housekeeper, execute all the right moves, particularly in their big musical number "I'm Only Thinking of Him," performed opposite the very personable Encinas, who is equally impressive as Padre.

Visually, this "Man of La Mancha" is a pièce de résistance. Wilson Chin's stunning, atmospheric set design is incredibly conceived in all its glory, sprawled handsomely across the inviting environs of the Westport Country Playhouse proscenium stage. Alan C. Edwards moody and evocative lighting design is also of the highest quality, as is Fabian Fidel Aguilar's wonderfully detailed costuming palate.

Handsomely conceived by Mark Lamos, this production of "Man of La Mancha" is bold, bawdy, intimate and sexy. It is not only one of the best interpretations of the Tony Award winning musical in the last decade or two, but one that takes chances, thrills and excites and dances to a decidedly different beat. Mark Lamos wouldn't have it any other way.

"Man of La Mancha" is being staged at Westport Country Playhouse (25 Powers Court, Westport, CT), now through October 13.

For tickets or more information, call (203) 227-4177

website: westportplayhouse.org

From the Desk of Jim R, Take 2, Column 100, A Review: "Phantom" (Westchester Broadway Theatre)

By James V. Ruocco

The chandelier still falls and crashes.
There's plenty of fog, smoke and mist.
The underground lair of the title character remains eerily intact.
"The Music of the Night?"
Not happening.
"All I Ask of You?"
Nope.
"Masquerade?"
Double no.

Same story, yes.
Different telling.
Oh, yes.
Different music.
Of course, yes.
And therein, lies the magic, the allure and the fascination.

In the Maury Yeston/Arthur Kopit musical "Phantom," it is the beguiling story of a hideously disfigured man who lives below the Paris Opera House that is the centerpiece of this traditional book musical and not its crashing chandelier, foggy underground lair, tall, grand staircases and lush pyrotechnics that spin the story into motion.
Instead, this musical telling, based on the Gaston Leroux novel "Le Fantome de l'Opera," is simple and direct in execution and not controlled by grandiose automated trappings, special effects and tons of extravagant scenery. And that is what separates it from the opulent Broadway and West End production of Andrew Lloyd Webber's "The Phantom of the Opera."

This "Phantom," which is just as relevant and universal, dances to an entirely different tune.

Here, the emphasis is on story, a "book story" reminiscent of the valued, typical Broadway musical of yesteryear. Things, of course, are just as powerful and just as exciting as any of the other "Phantom" stories, but in this interpretation, there's much, much more emphasis on characterization, sub plots, the subterranean life of the Phantom (called Erik, here) and a complete back story on how the masterful Paris Opera ghost was conceived (his dark story from birth to adulthood is reenacted in Act II), which heightens the musical's angst and emotion. The characters, are pretty much the same, with the exception of the Count Philippe de Chandon who, surprisingly, is not as relevant to the actual story as he was in the Andrew Lloyd Webber musical and has only one song to sing, a duet with Christine Daae, performed, not on a rooftop, but in the on the Avenue De L'Opera.

Incandescent.
Stirring.
Confident.
Distinctively human.

Everything about this "Phantom" is absolutely brilliant and intriguing.

It is yet another major achievement for Westchester Broadway Theatre, a classy, diverse Equity showcase whose compassion for musical theater was evidenced earlier this year with its lively, sparkling presentation of Cole Porter's effervescent "Anything Goes."

With "Phantom," that excellence continues.

An obvious fan of musical theater and brooding turn-of-the-century operettas, composer/lyricist Maury Yeston knows exactly what works, what doesn't work, what buttons to push and when to amp up the emotional romanticism of the story.  With "Phantom," he crafts beautiful, stirring melodies, character-driven solos, unbridled musical emotions and stories, fiercely passionate choral numbers and other musical treats that drive the plot reverently as characters stand proud and tall, their voices rich in song and conviction.
Yes, this "Phantom" is an homage, in part, to operetta. It is also an homage to old fashioned, romantic musicals of yesterday. But there is no copycatting. There is no grandstanding. There is no padding or ridiculous overkill. There are no damnable pronouncements.

From the start, his "Phantom" has plenty of heart, soul, passion and drive. It knows exactly where it is going, how it is going to be played out musically and dramatically and how it is going to end. It also contains a horror element that is both edgy and eerie, but without the overblown theatrics of other "Phantom" stories. The songs fulfill a purpose and nicely advance the story. Nothing is thrown in by the composer/lyricist just to give a principal character or supporting one another song to sing. Nothing is added or padded dramatically to extend the musical an additional fifteen or twenty minutes. Here, as with "Nine" and "Titanic," Yeston's song line up is precise, imaginative and genuinely focused.

In turn, the "Phantom" score, which includes 21 songs, unfolds with unbridled charm, mystique and verve. It's romantic and beguiling when it is meant to be. It is eerie and moody when it must be. It is campy and outrageous when it's time to lighten things up just for a bit. It enchants and cajoles when the mood is playful and rapturous. It also complements the plot machinations and wondrous inventions of  Arthur Kopit's book (the playwright adds plenty of detail, dimension and humanity to the story), without any forced or obvious calculation, which, often is the case, with book musicals.

Musical highlights include "Melodie de Paris," "Home," "This Place Is Mine," "Without Your Music," "Where In the World," "You Are Music," "You Are My Own," "My True Love" "Who Could Ever Have Dreamed You Up" and "Dressing for the Night."

Given the power of the music and its elicitation of strong, significant emotions, Bob Bray is the perfect fit for "Phantom" He is a first-class, masterful musician who knows exactly how to make Yeston's musical score resonate, fascinate and dance with the magic, pulse, danger, angst and emotion intended by the composer/lyricist. He also deftly plays the keyboard and surrounds himself with a tremendously talented orchestral team ( Ryan Edward Wise (keyboard), Brian Uhl (trumpet/flugelhorn), Pat Lombardo (reeds), Jay Mack (percussion), Jordan Jancz (bass), Steve Bleifuss (trombone) and Katie Von Braun (violin) who breathe new life into the "Phantom" score and make it as powerful and important as that other "Phantom musical by that celebrated Englishman named Webber.

Things are gloriously played with great pathos, humor, swiftness and sweetness. And under his tutelage, the entire "Phantom" cast unite and raise their voice in song without ever once missing a single beat, pulse, note, harmony, rhythm or piece of important music. Simply beautiful.

Staging "Phantom" (three times now) is Tom Polum, a talented auteur, whose WBT directorial credits include "Funny Girl," "Hello, Dolly!" "Carousel," "Grease," and "Oklahoma!"  From start to finish, he nails the intensity and integrity of Kopit's writing with razor-sharp directness that is startling, deliberate and melodramatic. His grasp of the material is so solid and honest, it's impossible not to be thrilled or moved by it all, despite familiarity with the subject matter, the characters and the actual ending.

Throughout the two-act musical, there's plenty to enjoy and applaud here as Polum pays close attention to the 19th century atmosphere, locale and period of the "Phantom" story, its character interaction and exchanges and various shifts in plotting. Highlights include a beautifully choreographed, extended  "back story" sequence pinpointing Erik's birth, youth and damaged adulthood; the mad but justified electrocution of Opera diva Carlotta; and that very big moment when the title character finally takes off his mask to show Christine (and not the audience) his disfigured face. It's all very melodramatically conceived by the director and intriguing reenacted by the performers, all of whom are with Polum every step of the way.

The pulverizing, thrilling quality of "Phantom" is anchored by the rich, intelligent performances if its leading and supporting players.

Making his WBT debut is Matthew Billman, a driven, personable, serious actor/singer who is absolutely perfect for the masked, mysterious phantom character he is asked to portray. Possessing a fine, commanding voice well suited for musical theater, he takes hold of the many songs Yeston has created for the production and brings the necessary strength, resonance and passion to every one of them, including "Where in the World," "Home" and "You Are Music," his emotionally driven duet with Christine. Acting wise, he offers a deep, dark and impassioned portrayal of a wounded, tortured, unworldly outcast that is real, raw, awkward and affectingly played.

As Christine Daae, the beguiling, young woman who becomes Erik's musical protégée, Kayleen Seidel, in her WBT debut, possesses that lilting, crucial soprano voice that befits her character. Opening the show with the harmonious "Melodies de Paris," she acts the part lovingly and sings beautifully and powerfully throughout the two-act musical. Her clear, vocal articulation and strength is also combined to wonderful effect in "My True Love" and her three duets "Who Could Ever Have Dreamed Up You?" "Home" and "You Are Music."

Snarky, devious and egotistical, Sandy Rosenberg, returns to WBT to play the part of the desperate, egotistical Opera diva Carlotta after an eleven year-absence. It's a wild, outrageous full-bodied role that the actress plays with scene-stealing glee and icy contempt. Her expressions, body language, double takes and line delivery are perfectly in sync with the author's wicked intentions as she dazzles, taunts and chews up the scenery and anyone else who gets in her way. Then again, that's the point, isn't it? Her big territorial character turn "This Place Is Mine" is acted and sung in true diva fashion. And when her just demise comes in the middle of Act II via electrocution by the title character, it's a fitting end to her dastardly deeds that's played to the hilt by both performers and the special effects team at WBT.

Returning to WBT where he appeared in all three "Phantom' productions, James Van Treuren is full of thrusting vitality and nuance in the pivotal role of  Gerard Carriere, the Opera House's purposely dismissed general manager who plays an important part in Erik's life and the conclusion of the "Phantom" story. It's a superb character turn, both vocally vocally and musically. Larry Luck is a charming and handsome enough Count Philippe de Chandon, exuding proper dash and personalty. But sadly, he isn't given much to do in the story. Nonetheless, he makes the most of whatever stage time he's given in Act I and Act II.

Technically, this production of "Phantom" is suitable for framing. The 19th century, old world, French-flavored set (designed by Steve Loftus and Carl Tallent) which includes trap doors, hidden passageways, Opera House balconies, corridors and stairs plus a revolving center stage turntable that rises and spins up in the air to reveal the Phantom's underground lair is both dazzling and effective. Andrew Gmoser's moody, atmospheric lighting palate and Mark Zukerman's resourceful sound design complements the proceedings as does Keith Nielsen's choice, visually pleasing period costume designs.

In conclusion, "Phantom" is a commanding, fast-paced gothic-induced musical melodrama, served up in Grand-Guignol style that often takes your breath away. It is beautiful. It is melodic. It is edgy. It is a creative oeuvre, destined for renewed appreciation by a musical team (Kopit and Yeston), prone to a loving assortment of non-repetitious, effervescent musicality that lends itself nicely to the oft-told story of Gaston Leroux's "Le Fantome de l'Opera."

That said, there's the food.
The menu is very nice, chock full of delicious, well-prepared entrees, starters, desserts and drinks. The juicy, melt-in-your mouth boneless prime rib of beef is an absolute must, as is the shrimp cocktail and tangy lemon sorbet.
The food service itself is handled by staff members who are very good at their job and who trust everyone around them who are equally skilled. From kitchen staff to busboys and servers, the Westchester Broadway Theatre cuisine department is run by experts who create a warm, inviting dining experience that feels like an ocean liner cruise from yesteryear in the very best way.

"Phantom" is being staged at Westchester Broadway Theatre (1 Broadway Plaza, Elmsford, NY), now through Nov. 25 and Dec. 27 to Jan. 27)

For tickets or more information, call (914) 592-2222.

website: broadwaytheatre.com

From the Desk of Jim R, Take 2, Column 99, A Preview: "Evita" (Act of CT)

By James V. Ruocco

The cast of "Evita" are in the middle of a rehearsal break.
Some are having lunch. Some are doing exercises. Some are texting. Some are chatting on their cell phones. Some are looking over the sheet music and mouthing the lyrics silently. Some are anxiously awaiting the opportunity to get back into the theater to learn yet another piece of the puzzle that makes up this extraordinary Andrew Lloyd Webber/Tim Rice musical.

Who could blame them?

Beginning October 4th, the two-act musical will jump start ACT of  CT's new 2018-2019 season, a  diverse line-up of three musicals including the already mentioned "Evita" (Oct. 4-Nov.11), "Working" (Feb. 22-March 10) and "The 25th Annual Putnam County Spelling Bee" (May 31-June 16).

Picking "Evita" as the premiere attraction for the theater's first official full season (ACT began life this past spring with its sold-out debut production of "Mamma Mia!") was actually a stroke of genius and a no brainer. The two-act musical, which was originally booked through through Oct. 28, has already been extended two weeks. This, of course, is based entirely upon advance ticket sales, great pre-publicity, major theater chatter within and outside the community and the popularity of the actual story of Argentine first lady Eva Peron itself.

And so, it begins.
Daniel C. Levine, the Artistic Director of ACT of CT and director of "Evita" is thrilled to have said "Yes" to the musical's booking at the handsome, intimate Ridgefield-based venue.
"Those of us who are lucky enough to make a career in theater have that one show that inspired us when were were younger; the one show that lit a spark within us and made us say, 'I want to do that when I grow up!' "

For Levine, that show was "Evita."
His passion for the two-act musical began when he was quite young. The thrill of being an audience member and seeing the production for the very first time was one he has never forgotten.
"I saw a community theater production of 'Evita' in Massachusetts when I was about 10 years old," he recalls. "I remember sitting in that dark theater and being swept up in the music and in the story. While I didn't entirely comprehend what was unfolding in front of me, I remember understanding that this story deeply affected people watching it.
"How could an audience be so invested in the story of a woman they didn't even know? Why was the man who was sitting in front of me wiping away a tear as the lights faded at the end of the performance. That was the power of theater and good-storytelling. More importantly, that was the power of this enthralling story."

Throughout his career as both director and working actor, Levine has always wanted to be part of "Evita." He got the opportunity to play Che several years ago in a regional presentation of the musical. It was then that his passion for "Evita" was reawakened.
"When  Katie (Diamond) and I opened ACT of CT last May, we decided that 'Evita' should be part of our full season," he adds. "For those people not familiar with 'Evita,' I want them to fall in love with the show just like I did all those years ago."

Inside the theater, rehearsals begin.
Levine stakes the spotlight and asks his cast to participate in the presentation of three individual musical scenes: "Peron's Latest Flame," "The Art of the Possible" and "You Must Love Me."
No one is in costume. There are no lighting effects. There are sound effects. Just actors doing what they love and loving every minute of it. Simply brilliant.

What's especially unique about Levine's vision is that the actual staging of his "Evita" is completely different from that of the West End, Broadway and National Tour productions of  the same show. Here, there is a unique closeness not found in big, proscenium theater presentations which gives the piece a timely rawness and realness that is often voyeuristic.

To hear Levine tell it, none of this is accidental.
"Our intimate theater is the perfect venue for this show in my opinion," he relates."ACT of CT is a 180 seat theater, where the front row is literally 3 feet away from the actors. My concept was to have our audience feel a part of the story. Rather than watching it from far and seeing the story unfold, I wanted our production to include the audience, so that the audience feels as through the events are happening around them in real time."

It's a creative process that works most advantageously.
"While traditional 'Evita' productions can include a cast of up to 50 people, I was interested in telling this story with a much smaller acting company, " he adds. "If we could cast the right storytellers, this show could be effective with 16 actors as it is with 35. And boy, did we luck out with this company!"

"Evita" stars Julia Estrada as Eva Peron, Angel Lozada as Che Guevara, Ryan K. Bailer as Juan Peron, Julian Alvarez as Agustin Magaldi and Marlena Lopez-Hilderley as Peron's Mistress.
Ensemble members are Kyle White, Mia Scarpa, Paul Aguirre, Alex Caldwell,  Monica Ramierez, Morgan Harrison, Jordan Fife Hunt, Alison Mahoney, Daniel Marhelko, Erick Sanchez-Canahuate and Daniel Schwait.

From the beginning, the casting for this "Evita" was purposely authentic, honest and completely in sync with the Hispanic element of the production. "We felt strongly that our cast of 'Evita' should be heavily composed of Latinx talent," Levine explains. "I mean who better to perform in this than an acting company who represents the community that is meant to tell this riveting story? And that is not to say that non Latinx shouldn't be part of 'Evita' productions.
"Patti LuPone and Mandy Patinkin were the originals and truly made the show the success that it remains today! But I think than when presented with the opportunity for authenticity and diversity, one should grab it. And we did. I'm thrilled and excited that our 'Evita' has a large percentage of Latinx talent."

Written by Andrew Lloyd Webber and Tim Rice," the two-act musical traces the colorful life of Argentine political leader Eva Duarte Peron, the second wife of Argentine president Juan Peron. It follows her early life, her rise to power, her political tours, her charity work, her illness and her eventual death. Winner of six Tony Awards including  Best Musical," it features 30 songs including "Don't Cry For Me Argentina," "Oh, What a Circus," "High Flying Adored," "A New Argentina" and "Another Suitcase, Another Hall."

Then as now, the story and its music account for the continued success of "Evita," its longevity and its reappearance on stages all over the world including ACT of CT.
And why not?

"Eva Peron was extraordinary," Levine confesses. "She rose to power in Argentina at a time when women were not ever allowed to vote. She was complex and controversial, but like all complicated figures, Eva's achievements were not without a downside. Although beloved by the working class, both she and her husband were seen as power hungry authoritarians who would stop at nothing for absolute control of the country."

That said, Levine thought long and hard about his vision of the "Evita" story.
As director, he not only wanted to portray this own take on the production, but offer theatergoers a musical that came from the heart and portrayed his own personal vision.
"For me, this script and score is just so fantastic and complete, that I feel my job as director is to just tell the story that Tim Rice and Andrew Lloyd Webber wrote," he says. "There's no need to completely reinvent 'Evita' by cleverly finding new and interesting slants on the story.
"While I certainly have my own view on how the story of Eva and Juan Peron parallels today's political climate, I leave it to the audience to draw any comparisons (or not). That's the beauty of theater. Everyone has their own interpretations of experiences."

"Evita" is being staged at Act of CT (36 Old Quarry Rd, Ridgefield, CT).

For tickets or more information, call (475) 215-5433.

website: actofct.org

From the Desk of Jim R, Take 2, Column 98, A Review: "Legally Blonde" (Downtown Cabaret Theatre)

By James V. Ruocco

The big gay kiss has been scrapped.
Paulette's dog has been pink slipped.
The Act II  "Scene of the Crime" courtroom sequence has been slightly altered and no longer includes the pivotal shower reenactment.
And the pink goo and candy gloss nausea of previous "Legally Blonde" incarnations that sent certain audience members off to the ER with a severe case of sugar shock has been given the "All Clear."

Nonetheless, the two-act musical still works its charm in all its pop-kitsch glory.
It is fun. It is outrageous. It is cute. It is pink. It is off the charts.
It is also not believable for a single second.

Does one care? Absolutely, not.

The latest incarnation of "Legally Blonde," now on view, at the Downtown Cabaret Theatre, is one of the best musical interpretations of the popular Broadway smash to play Connecticut in the last two years or so. The roles originated on Broadway by Laura Bell Bundy, Christian Borle, Orfeh, Michael Rupert, Richard H. Blake, Kate Shindle and Andy Karl, now belong to an entirely different group of actors. But the "Omigod" effect that put "Legally Blonde" on the map in the first place remains in all its glory.

Only this time, you don't have to inject insulin into your blood stream between the songs, the dances, the one-liners, the sorority girl craziness, the sub plots, the romantic whimsy and the pink goo. 

This "Legally Blonde" marches to a different drumbeat all together.

Enter Jerold Goldstein.

He's a major directorial talent of the highest order and one that Downtown Cabaret is lucky to have on their newly minted theatrical leader board.

But first, let's backtrack.

"Legally Blonde" takes its cue from the popular 2001 movie that starred Reese Witherspoon, Luke Wilson, Jennifer Coolidge, Selma Blair and Matthew Davis. The story, rewritten for the stage by Heather Hach, is pretty much the same. It tells the over-cute, whimsical tale of fresh-faced Elle Woods, a California sorority girl and fashion major who enrolls in Harvard Law School for two reasons. One, to prove to everyone that she has the chutzpah to accomplish this outrageous goal. Two, to win back her preppy, handsome ex-boyfriend Warner Huntington III.

That said, reenter Jerold Goldstein.

Staging "Legally Blonde," Goldstein smartly abandons the candy coating that often devoured or sank the Broadway musical. The pink gloss still pops up, on occasion, but Goldstein, anxious to make his mark, grounds the musical in a determined, quasi-reality that keeps the story on its toes, front and center, never looking back. It's a creative process that is used to breezy effect throughout the two-act musical and one that keeps things in perspective.

"Legally Blonde" comes gift wrapped with a cute, serviceable, plot advancing musical score of 22 songs by Neil Benjamin and Laurence O'Keefe that includes "Omigod You Guys," "Serious," "What You Want," "Ireland," "Chip On My Shoulder," "Bend and Snap" and "Find My Way." Since there is absolutely no live orchestra to speak of, the entire show is akin to prerecorded music that has Goldstein doubling as both music director and traffic cop. Daunting, yes. Crazy, yes, Unheard of, yes. Risky, yes.

The good news is that Goldstein, clever auteur that he is, can work miracles. So much so, the musical side of "Legally Blonde" unfolds without a bump, glitch,  missed cue or hesitation. The entire cast, from leads to supporting cast members are 100 percent in sync with this otherwise odd and scary  process (no live band, that is) and never once let their guard down for a single millisecond. They tackle every single song like true professionals and offer some of the most thrilling, pleasant-sounding vocals ever to come out of Downtown Cabaret. The sound quality of "Legally Blonde" (sound design by Chris Gensur) is absolutely superior in every imaginable way possible.

The high-octane choreography for "Legally Blonde" has been impressively designed by Argentine-born  Gustavo Wans. It is energetic, campy, syrupy-sweet and enjoyably over the top. Remember, this isn't "42nd Street," "A Chorus Line" or "Chicago." This is "Legally Blonde" So sticky-gooey, crazy-giddy and gumdrop-fruity is perfectly acceptable because it adheres to the bubbly story concept set forth by the show's creators. The choreographer also makes great use of the Delta Nu sorority sisters who double as the Greek chorus in Elle's mind and cut loose with some frenzied, wild moves that showcase Wans' choreographic vibrancy.

Standout musical dance numbers include "Bend and Snap," "Whipped Into Shape," ''Omigod You Guys" and Find My Way."

"Legally Blonde" casts effervescent Monica Charline Brown as the irrepressible Elle Woods. An actress of comparable strength, determination, poise and personality, her characterization is never  prom-queen Barbie, sorority girl Barbie or Malibu Barbie. Her Elle means business. She is a force to be reckoned with. Get in her way and she'll snap you in half. Vocally, she is passionate, caring and marvelously melodic. There's a real understanding and appreciation for the collation of songs her character sings. The music suits her talents and really does create an energetic, harmonious whole. 

The sparkling supporting cast, likeable in every way, includes James Conrad Smith as Warner Huntington III,  Elle's narcisstic ex-boyfriend, Chris Cherin as Emmett Forrest, the nerdy law-teaching assistant who falls head over heels in love with Elle, Dana DiCerto as Paulette Buonufonte,  the powerhouse beautician anxious for love with a manly man and Margaret Buzak as Vivienne Kensington, Warner's new girlfriend and chief rival.

Also featured are Robert Watts as Professor Calhoun, the Harvard Law professor who makes a pass at Elle, Michael Kaulins as Kyle, the sexy UPS delivery man in very tight tight shorts, Katie Robidoux  as Brooke Wyndam, the fitness guru accused of murdering her husband, May Tae Harge as sorority sister Serena and Juan Ayala as  Nico Argitakoas, Brooke's pool boy who harbors a very big secret.

Every one of these cast members is perfectly right for their respective roles. Their acting, singing, dancing and line delivery is exceptional in every way. All of them bring so much more to "Legally Blonde" than what's indicated in the play script.

"Legally Blonde" is the first of four musicals to be performed at Downtown Cabaret during its new 2018-2019 season. Waiting in the wings are "Annie," "Sister Act" and "The Full Monty."

Despite its playful, bubble-headed absurdity, "Legally Blonde" gets a passing grade of A+ for its zany comic hijinks, its perky romanticism, its sufficient musicality, its zesty choreography and direction, its splendid visuals, its incredibly fast scene changes and its exuberant cast, many of whom are making their Downtown Cabaret Theatre debut. And oh yes, let's not forget the chihuahua. A true canine star in the making.

"Legally Blonde" is being staged at the Downtown Cabaret Theatre (263 Golden Hill St., Bridgerport, CT), now through October 14.

For tickets or more information, call (203) 576-1636.

website: dtcab.com.