From the Desk of Jim R, Take 2, Column 443, "The Best Musicals and Broadway Concerts of 2023 - Equity"

 

By James V. Ruocco 

Fresh takes.
Major revivals.
Seasoned classics.
Soaring melodies.
Grand and glorious national tours.
Sell-out performances.
Tour de force experiences.

Another year has come and gone, and with it, a year of bittersweet memories, triumphs, electricity and freshly scored home runs.

Marsha Norman. Andrew Lloyd Webber. Harold Arlen. George Gershwin. Rodgers and Hammerstein. Stephen Sondheim. Fats Waller. Jule Styne. 

There's nothing quite like the thrill of musical theatre.

Looking back, 2023 was a great year for Equity-based musical fare all across Connecticut.

LIVE or streamed, musicals of every size, shape and color were showcased day by day, week by week or month by month much to the delight of theatergoers, music buffs, showtune aficionados, rock fans and anyone in the mood for something sweet and nostalgic.

Opening night was a hit.
Great orchestra seats were plentiful.
Tickets sales skyrocketed.
The reviews came out.
Sold-out performances were commonplace.
Standing ovations were in full swing.
There was lots and lots to choose from.

What worked?
What stood out?
What was the big blockbuster?
What kept audiences coming back for more?
What was the "after party" buzz and chatter?
What musical or musicals prompted a return visit?

This year, things quickly fell into place.
Picking the very "best" musicals and concerts of the 2023 season was pretty much - "one, two, three."

Fun?
Yes.
An Open Mind?
Always.
Personal favorites?
It comes with the territory.

But first, a few simple rules.

Only "press invited shows" (i.e., invites from Equity-based theaters or marketing departments within the actual venue) are eligible for "Best Musical and Concert" consideration. 
To place on the annual "best" list, all productions must be completely consistent in terms of excellence, execution, performance, direction, design, casting and showmanship.

This year, for the very first time ever, all 2023 musicals staged at ACT of CT and Goodspeed Musicals have received a place on my annual "Best Musicals and Broadway Concerts of 2023 - Equity" with special credit going to Daniel C. Levine, Artistic Director of ACT of CT and Donna Lynn Hilton, Artistic Director of Goodspeed Musicals.

Another first: ACT of CT is the first and only venue ever to have all three of their 2023 productions receive first place honors - "The Secret Garden," "Sunset Boulevard" and "Rock of Ages."
"Summer Stock" from Goodspeed Musicals completes the quartet of first place winners.

My choices are as follows.

The Best Musicals and Broadway Concerts of 2023 - Equity

"The Secret Garden"

(ACT of CT)

director: Daniel C. Levine

"Sunset Boulevard"

(ACT of CT)

director: Daniel C. Levine

"Summer Stock"

(Goodspeed Musicals)

director: Donna Feore

"Rock of Ages"

(ACT of CT)

director: Igor Goldin

"Six: The Musical

(The Bushnell)

directors: Lucy Moss and Jamie Armitage

"Gypsy"

(Goodspeed Musicals)

director: Jenn Thompson

"Something Rotten!"

(Sharon Playhouse)

director: Amy Griffin

"Tina: The Tina Turner Musical"

(The Bushnell)

director: Phyllida Lloyd

"Jersey Boys"

(Music Theatre of Connecticut)

director: Kevin Connors

"Max Von Essen: Sunday Broadway Concert Series"

(Legacy Theatre)

At the piano: Billy Stritch

"Ain't Misbehavin' "

(Westport Country Playhouse)

director: Jeffrey L. Page

"Jenn Colella: Sunday Broadway Concert Series"

(Legacy Theatre)

At the piano: John McDaniel

"Lizzie"

(TheaterWorks/Hartford)

director: Lanie Sakakura

"Bandstand"

(Playhouse on Park)

director: Sean Harris 

"The Musical of Musicals"

(Legacy Theatre)

director: Colin Sheehan

"Stop Time Dance Machine"

(Playhouse on Park)

director: Darlene Zoller

"Moulin Rouge"

The Bushnell

director: Alex Timbers

"Joan Joyce!"

(Seven Angels Theatre)

director: Keely Baisden Knudsen

"The Sound of Music"

(Ivoryton Playhouse)

director: Jacqueline Hubbard

"Tootsie"

(The Bushnell)

director: David Solomon

"First Lady of Song Cherise Coaches Sings Ella Fitzgerald"

(Westport Country Playhouse)

director: Angela Ingersoll

"Dreamgirls"

(Goodspeed Musicals)

director: Lili-Anne Brown

"The 12" 

(Goodspeed Musicals)

director: John Doyle

"Eden Espinosa: Sunday Broadway Concert Series"

(Legacy Theatre)

At the piano: John McDaniel

"The Rocky Horror Show"

(Music Theatre of Connecticut)

director: Kevin Connors

From the Desk of Jim R, Take 2, Column 442, "The Best Plays of 2023: Non-Equity"

By James V. Ruocco 

Gritty.
Engaging.
Vibrant.
Hypnotic.
Thrilling.
Assertive.

Non-Equity Theatre in 2023 was exactly that.

So many plays to discover.
So many plays to cherish.
So many plays to enjoy.
So many great performances.
So many standing ovations.

Drama. Comedy. Classics.
Some very recognizable.
Some rarely performed.
Some completely brand new.
Some very few theatergoers have heard of.

The thrill of course, was discovery.
New. Old. Timely. Quirky. Edgy. Outrageous. Surprising.
From "August: Osage County" to "Night of January 16th," it was a game-changing season that broke new ground, offset by themes and subject matter that enticed, cajoled, excited, surprised and left no room for error.

Non-Equity Theatre in Connecticut was more diverse than it has ever been.

There were, of course, several misfires, including one play that left "thrill and spill" in the back shed while two others derailed quickly due to generic dialogue and one-note characters that left the performers stumbling, forgetting lines or waiting forever for the set to be changed - five, ten, fifteen times.

No matter.
Those productions are not included here.
To be eligible, all productions must be completely consistent in terms of excellence, execution, performance, direction, design and showmanship.

What worked?
What stood out?
What drove audiences wild?
What was the "after party" buzz and chatter?

This year, things quickly fell into place.
Picking the very "best" plays of the 2023 season was pretty much - "one, two, three."
Fun?
Yes.
An Open Mind?
Always.
Personal favorites?
It comes with the territory.

One final note: Only "press invited shows" (i.e., invites from Non-Equity Theaters or marketing departments within the actual venue) are eligible for "Best Play" consideration. 

My choices are as follows:

The Best Non-Equity Plays of 2023

"August: Osage County"

(Hole in the Wall Theater)

director: Warren Dutkiewicz

"Wife/Worker/Whore"

(Hole in the Wall Theater)

director: Kirsten Easton-Hazzaa 

"Night of January 16th"

(Castle Craig Players)

director: Pam Amodio

"Straight Men Can't Dance"

(Brookfield Theatre for the Arts)

director: Craig David Rosen

"Mentors" 

(Backyard Theatre Ensemble)

director: Teresa Langston

"Athena"

(Andromeda Theatre Guild)

director: Terrance J. Peters

"Moon Over Buffalo" 

(Sacred Heart University)

director: Jerry Goehring

From the Desk of Jim R, Take 2, Column 441, A Review: "Dreamgirls" (Goodspeed Musicals)

By James V. Ruocco 

"We're your Dreamgirls, boys

We'll make you happy

Yeah, yeah, yeah

We're your Dreamgirls, boys

We'll always care

We're your Dreamgirls

Dreamgirls will never leave you!

No, no

And all you've got to do is dream, baby,

We'll be there!"

A musical full of sparkle, glitter, ambition and gorgeous, jaw-dropping Technicolor splish and splash, propelled by pop-infused musical numbers and slick, weighty R&B dance moves from Motown's heyday, "Dreamgirls" - currently blazing its way to megawatt proportions on the Goodspeed Musicals stage - takes its cue, in part, from the real-life story of Diana Ross and the Supremes and other musical acts of the 1960's including The Shirelles, James Brown and Jackie Wilson.

Functional.
Gutsy.
Emotional.
Inspired.
Entertaining.

"Dreamgirls" moves up the charts at Goodspeed with an amazing power and gusto that packs a punch with knockout joy and delivery that is completely irresistible.

Written by Tom Eyen, the two-act musical tells the compelling story of The Dreams, a dynamic, all-female singing group hoping for a big break in the music industry of the 1960s and 1970s. Their hopes to harmonize their way to stardom, however, take a decidedly different turn when Effie, the trio's overweight lead singer is moved to the sidelines when Deena, the beautiful, charismatic, backup singer is chosen to front the group to make it more appealing, distinctive and marketable. 

Ross, of course, hated this pitch when "Dreamgirls" first played Broadway back in 1981 and vehemently denied that "Dreamgirls" had anything to do with the real-life story of Diana Ross and the Supremes. Sadly, no one believed her.  And quite frankly, no one cared.

Staging "Dreamgirls," director Lili-Anne Brown brings a tremendous sense of theatricality and shimmer to the proceedings. It's a grounded assemblage of control and commitment schooled and embellished with just the right amount of thrust, drama, humor, heartbreak, redemption and hope necessary to pique interest and keep the story moving toward its inevitable, justified conclusion.
As director, she is completely knowledgeable of the "Dreamgirls" concept, its rags to riches drama, its cat fights, its divas, its glitter, its sparkle, its pulse, its truths, its lies, its struggles, its gender and racial issues and its showbiz aspirations and successes.
Yes, there's a lot of ground to cover. Yes, certain plot points move too quickly or get lost in the shuffle. But, nonetheless, Brown kicks the musical into overdrive, sustains interest, gets laughs and tears in all the right places and involves her audience in show's powerhouse heartbreak and passion.
She also has cast the musical surprisingly well from leads and supporting characters to the very talented men and woman who play a variety of ensemble roles throughout the "Dreamgirls" story.

Taking its cue from the classic Motown R&B acts of yesteryear, the adrenaline-fueled musical score for "Dreamgirls" was written by Tom Eyen (lyrics) and Henry Krieger (music). Mixing pop, soul, jazz and funk alongside carefully chosen Broadway-Las Vegas style melodies, diva turns and concert spins and vibes, it includes several noteworthy musical numbers including "Family," "Dreamgirls," "Cadillac Car," "Move (Your Steppin' On My Heart)," "And I'm Telling You I'm Not Going," "I Am Changing," "One Night Only," "When I First Saw You," "You Are My Dream," "Hard to Say Goodbye (My Love)" and "Steppin' to the Bad Side."
At Goodspeed, musical direction for "Dreamgirls" is provided by Christie Chiles Twillie whose credits include "Hair," "Five Guys Named Moe," "Raisin," "Newsies" and "The Gospel at Colonus." Doubling as conductor and keyboardist, she is joined by musicians Wes Dziedzic (keyboard 2), Elliot Wallace (percussion), Liz Baker Smith (reeds), Travis Higgins III (trumpet), Ben Herrington (trombone), Nick DiFabbio (guitar) and Sherisse Rogers (bass).

Given the musical's different rhythmic styles, beats and leaps through the decades, there's a lot to work with here and Twillie and her orchestral team have got every musical twist, turn, gasp, jump, thrill and heartbreak covered. From the musical's immersive opening number "I'm Looking for Something, Baby" to the melancholy-tinged "Hard to Say Goodbye (My Love)" that brings Act II to a close, all of the songs are fully imagined in true "Dreamgirls" style and, one of one, they each play out with decided flourish, joyfulness, gusto and pizzaz envisioned by the show's creators.
This is LIVE music that pops, sizzles, stirs, gyrates and hypnotizes.
It is hot. It is heavy. It is loud. It is rich. It is playful. It is sensual. It is romantic. It is melodic.
Twillie and company have great fun bringing it to life for both the audience and the onstage performer, addressing the musical's catalog of showstopping songs with just the right tempo, pulse and imagination to plunge the familiar story of "Dreamgirls" forward effortlessly. It makes all the difference in the world. 

The enlistment of Breon Arzell as choreographer for "Dreamgirls" benefits the musical enhancement of Tom Eyen's colorful scenario and the many characters who reveal their innermost thoughts, desires and passions through song and dance. Here, he sets the Goodspeed Musicals stage aglow with some very passionate, sizzling, powerful footwork that recall and reflect the eclectic R&B pairings, styles, pop infusions indicative of "Hullabaloo," "Shindig!" "American Bandstand," "The Hollywood Palace," "Soul Train" and "The Ed Sullivan Show."
As "Dreamgirls" inches forward, he dazzles and delights. He gets the juices flowing. He knows how to make things pop. He is completely in sync with the time frame, the look and the vibe of the story. He knows how to move people about through carefully constructed dance moves and maneuvers. He's also not afraid to take chances, up the stakes or experiment with the musical's already proven material.  

As with the original 1981 production of "Dreamgirls," its subsequent 1983 National Tour and the triumphant 2016 London West End revival that starred "Glee's" Amber Riley as Effie White, casting - the right casting, that is - is key to the musical's success, its storytelling, its authenticity and its connection between actor and audience.
At Goodspeed, the leading ladies - Trejah Bostic as Efflie White, Ta-Tynisa Wilson as Deena Jones, Keirsten Hodgens as Lorrell Robinson, Shantel Cribbs as Michelle Morris -  and the leading men - Mykal Kilgore as Jimmy Early, Evan Tyrone Martin as Curtis Taylor, Jos. N. Banks as CC White - bring incredible vocal range, personality and a dynamic stage presence to their respective roles which adds layers of truth, resonance and importance to the production, its captivating musical score and its emotional storytelling journey. 

Photos of "Dreamgirls" courtesy of Diane Sobolewski

"Dreamgirls" is being staged at Goodspeed Musicals (6 Main Street, East Haddam, CT), now through December 30, 2023.

For tickets for more information, call (860) 873-8668

website: goodspeed.org   

From the Desk of Jim R, Take 2, Column 440, A Review: "Moulin Rouge!" (The Bushnell)

By James V. Ruocco

There's much to admire about the National Touring Company of "Moulin Rouge!" the Tony Award-winning musical based on Baz Luhrmann's hypnotic, wildly energetic 2002 motion picture that starred Nicole Kidman and Ewan McGregor draped in technicolor madness, offset by catchy jukebox music choices, splashy colors, styles and genres and sumptuous Parisian backdrops that cried "Paris est pour les amoureux, à la fois romantiques et condamnés." 

So, let us begin.
On stage, the dazzling, artistic nightclub district of 19th century Montmartre sparkles with rich Bohemian allure, entrapment and intoxication.
The thick, vintage layers of fabric draped around the sets and backdrops glitter with dusty artist twinkle, flavor and French atmospheric influence.
The musical's big "Moulin Rouge!" sign - bathed in shiny, red, seductive lights that heat up every now and then - is a jaw-dropping sight to behold that casts its spell upon welcoming theatergoers as they take their seats, row by row, in the vast audience space before them.
Derek McLane's atmospheric set design is spectacle worthy with dreamlike dashes of fantasy, blaze, sexiness and shimmer.
Catherine Zuber's enticing costume design enhances the story's romantic tale of love and doom with couture specificity and refinement.
As Christian, Christian Douglas is appropriately dreamy as the romantic leading man of the "Moulin Rouge!" musical narrative.
In the role of Satine, the doomed, consumption-ridden heroine of the "Moulin Rouge!" fairy tale, Gabrielle McClinton, is so fiery, sensual and enticing, the seductive beauty and presence of her confident characterization radiates throughout the entire theatrical venue.

But first, let's backtrack.
As musical theatre, "Moulin Rouge!" flashes and shines with crazed, brilliantly timed execution, nostalgia and flamboyance. There's plenty of money, talent, energy, pyrotechnics and color to burn, making it "a hot ticket" for pretty much every single theatergoer in the audience - gay, straight, non-binary, transgender, confused or not-too-sure - willing to succumb to a glorious, hypnotic sound-and-sight show that never once fails to titillate, entertain or work one up into an emotional lather that lingers long after the musical has ended and the cast unite as one for their final curtain calls.
It's obvious to everyone that no expense has been spared - the show has cost millions to replicate on tour - to create this lavish, lush, immersive extravagance.
Unfortunately, the reworked book by John Logan, a playwright who tweaks parts of the original story for Broadway-inspired onslaught, debauchery and madness, often flatlines, if only fleetingly, as does certain dialogue and uninspired story arcs that interrupt the musical's push-and pull fantasia and giddyap.
Regardless, the musical's recognizable pop tunes and delightfully pumped-up staging and choreography thrust "Moulin Rouge!" back into the spotlight with enough oomph and splash to camouflage its paper-thin, age-old plot contrivances. 

As scripted by Logan, "Moulin Rouge!" replays the story of Christian, a handsome, destitute bohemian songwriter from Ohio who finds himself in the throes of the resplendent, late 19th century Moulin Rouge district of Paris where he falls immediately in love with Satine, a beautiful courtesan and nightclub star coveted by the very wealthy Duke of Monroth who has earmarked the sultry enchantress as the pièce de résistance in his gallery of paramours unaware of her love for Christan, her intended deception, her fatal illness or secret pact with the club owners to use the Duke's social position and wealth to save the Montmartre-based cabaret from financial ruin.

The heart and soul of "Moulin Rouge!" however, comes from its glittering array of jukebox songs, which, upon glancing back, were one of the key components of the 2002 motion picture. Mixing important elements from Hollywood movie musicals and popular Broadway musicals alongside opera (mainly Puccini's "La Boheme"), vaudeville and supper club entertainment, Luhrmann's pastiche of songs, lyrics, melodies and formats lent themselves nicely to the story and the film's vintage 19th century Parisian backdrop.

Shifting the action from screen to stage, Logan and the show's collaborators have quadrupled the musical's playlist of popular songs and showstoppers - much to the delight of everyone on stage and in the audience - with full blown numbers, mash ups, lyrical teases, love songs, duets, character spins, ensemble turns, cabaret leaps, inserts, snippets, vocal dramaturgy, remixes and outrageous, giant leaps of faith that reflect the beaming, dazzling backdrop of Montmartre and its pivotal, revolutionary players to full-on excitement, enticement and exhibition.
This flash-bang-whiplash-wallop of musicality and bohemian ideals comes gift wrapped with energy-induced offerings famously originated by the likes of Lady Gaga, Police, Madonna, OutKast, Pink, Beyonce, Marilyn Monroe, Adele, Gnarls Barkley, Britney Spears, Soft Cell, The Eurythmics, Rihanna, White Stripes, Rodgers and Hammerstein, Sia, Walk the Moon, Katy Perry, Rick Astley, Shirley Bassey, Lorde, T- Rex, The Beatles, No Doubt, Tina Turner and Dolly Parton, among others.
It's a concept of bold moves and musical cards that pumps the already adrenaline-fueled "Moulin Rouge!" into applause worthy proportions of interpretive specificity, gorgeous encores, lustful preening and parading and head-on, note-perfect directness and embracement.
Getting top placement are "Diamonds Are Forever," "Bad Romance," "Diamonds Are a Girl's Best Friend," "Children of the Revolution," "Sympathy for the Devil," "The Sound of Music," "So Fresh, So Clean," "Lady Marmalade," "Royals," "We Are Young," "Material Girl," "Single Ladies (Put a Ring on It)," "Firework," "Toxic," "Come What May," "Seven Nation Army," "Sweet Dreams (Are Made of This)," "Shut Up and Dance,"  "Tainted Love," "Roxanne," "Chandelier," Rolling in the Deep," "Crazy," "Never Gonna Give You Up," "Every Breath You Take," "All You Need is Love," "Don't Speak," "What's Love Got to Do With It?" and "I Will Always Love You."
The pleasure that comes from hearing one song hit after another is credited to musical director Andrew Graham, a talented musician whose expressive depth, showmanship and intuitive rattle and roar fills "Moulin Rouge!" with a proud musical glow that is both joyous and luminous, mixed lovingly with achievement, shimmer, delivery and agenda. It's a truthful, silvery collaboration of orchestral showpieces, melodies and morsels that prompt immediate attention to the storytelling, its snap and sparkle, its romantic anticipation and its tinges of fantasia, chaos and rapture. Sonya Taveh's snappy, effective, significant choreography heightens the excitement with extravagant dance entertainment reflective of movie musicals, concerts, MTV videos and big, glossy Broadway productions.

Staging "Moulin Rouge!" director Alex Timbers ("Beetlejuice," "Here Lies Love," "Guttenberg! The Musical!") crafts an event-worthy pop musical that immerses its audience in the bacchanalian splendor and fantasy of the narrative, its storied Paris setting, its bohemian clientele, its navigated schtick and its playful mix of humor, reflection, sentiment, deceit and seduction. The script's subsequent lack of character and emotion occasionally knocks Timbers off his creative box from time to time, but he quickly moves past these odd, one-note interruptions with colorful choices, expressions and intentions that thrust "Moulin Rouge!" back into orbit with balance, feeling and anchored composition. He also has the pleasure of working with a cast of watchable, talented performers - principals, supporting players, ensemble - who bring plenty of heart, soul and spectacle to the piece and its curated, proven list of one hit pop song after the other.

In the lead role of Satine, the beautiful cabaret star and courtesan of the Moulin Rouge nightclub who is forced to seduce the wealthy Duke of Monroth to keep the Parisian venue from going bankrupt, Gabrielle McClinton dominates the musical with a tour-de-force performance of independence, glitter, sensuality and star power that reaches out far beyond the theater's proscenium wall to taunt, entice and arouse every heterosexual male in the audience willing to succumb to her to hypnotic allure, charm and beauty as both theatergoer and voyeur. 
Throughout the production, she never once loses touch with the emotion, thrill and heartbreak of the piece or the fact that her character, who will eventually die of consumption before the musical's big mega mix finish, is part of a tragic fairy tale of which there is no escape or happy ending. Her romantic entanglement with the handsome Christian explodes with real warmth and trigger as does her many musical numbers that dominate the stage with an MTV bravura that is seamlessly integrated with a nightclub feel and aura reminiscent of Paris in the 1890's and the concert-going thrill of the 1970s, 1980s and 1990s all rolled into one. Vocally, she brings a standout voice and snap to the stage, mixed with sass, buzz, vintage burlesque and three-ring circus bounce and flair.

As Christian, the struggling young artist and composer who comes to Paris to escape his stifling life in America, the boyish and dreamy Christian Douglas is the perfect fit for the part of the justifiably innocent songwriter and composer from America who wanders into the bohemian, red-light district world of the Moulin Rouge and falls instantly in love with Satine, the club's diamant scintillant à l’état brut.
Like his glamourous leading lady, Douglas plays his role with both enthusiasm, sway and pop tune magic, resulting in a polished, magnetic performance of energy and sexiness that leaves you saying, "Aaron, who?" 
He's focused. He's confident. He's charming. He's committed. He's sweet. He's lost in the moment. He's genuine. He's the real deal.
Vocally, his flair for musical theatre is a happy explosion of balance, appreciation and confetti, laced with shine, purpose, inspiration and concept. He quickly transports his audience into another world and dimension - part fantasy, part glamour, part time travel - naturally fulfilling the musical's sensory exhilaration, flamboyance and groove. It's in his eyes. It's in his smile. It's in his movements. It's in his voice. It's in his expressions.

Robert Petkoff, in the pivotal, scene-stealing role of Harold Zidler, the welcoming ringleader, owner and emcee of the decadent and inviting Moulin Rouge nightclub, delivers a dazzling, delicious, ridiculously entertaining performance that commands your attention whenever he's onstage. He has great fun with the role, investing it with the thrill and spill the part call calls, but making it very much his own.

"Hello, chickens!

Yes, it's me.

Your own beloved Harold Zidler.

In the flesh!

Welcome...to the Moulin Rouge," he cries.

"This is where all your dreams come true.

You are the Moulin Rouge!"

And he's not kidding.

"Moulin Rouge!" is being staged at the Bushnell (166 Capitol Avenue, Hartford, CT), now through December 3, 2023.

For tickets or more information, call (860) 987-5900.

website: bushnell.org

From the Desk of Jim R, Take 2, Column 439, A Review: "Miracle on 34th Street" (The Arts at Angeloria's)

By James V. Ruocco

Is there really a Santa Claus?
Does he actually live in the North Pole?
Is his workshop filled with Christmas elves who make toys of every shape, color and size from handwritten wish lists from kids of all ages?
Does he really bring gifts to children worldwide on Christmas Eve with the aid of flying reindeer who pull his toy-filled sleigh through the air?
Yes?
No?
Maybe?
Well, that depends.

In "Miracle on 34th Street," the stage version of the original 1947 film that starred Edmund Gwenn and Maureen O' Hara, Kris Kringle believes he's Santa Claus.
He can grant any wish.
He can give you any gift.
He can speak any language.
His kindness knows no boundaries.

To the children visiting the welcoming Christmas grotto of Macy's Department Store, he's the one and only North Pole Santa and not an actor or salesperson commissioned via a weekly employee paycheck to pretend to be you-know-who.
Suspicion mounts.
Pretty much everyone thinks he's crazy.
A supreme court judge is hired to decide his sanity and real identity.
Christmas is threatened.
And the myth of the legendary figure of Santa Claus, also known as Father Christmas, Kris Kringle, Saint Nicholas and Père Noël, may be destroyed for good.

This being a "holiday-themed-show" with the word "miracle" in its title, "34th Street" eventually becomes a very happy place of smiles, gumdrops, candy canes, giddy wordplay and fantasy.
But is there a Santa Claus?
You bet there is!

Not one to disappoint, The Arts at Angeloria's turns a dark winter's night into a glorious snowy morning with its charming, hyperactive, very lengthy take on "Miracle on 34th Street." Produced by special arrangement with The Dramatic Publishing Company of Woodstock, Illinois, it comes to the stage with a book by Valentine Davies and a patchwork of handpicked "public domain" songs (not covered by copyright law) interspersed throughout the familiar, carefully modulated narrative.

It is also not to be confused with Meredith Wilson's 1963 Broadway musical "Here's Love," which, years later, was retitled "Miracle on 34th Street," for theatergoers and critics who felt "Here's Love" was the wrong title for a musical that questioned the existence of Santa Claus during the Christmas holidays.

With the accent on fun, amusement and over-the-top point of view and commitment, this decidedly different, musically remixed interpretation of "Miracle of 34th Street" glides and slides with holiday spirit, cheery wordplay and ample enough gallop and dash to turn even old Ebeneezer Scrooge into a fan of Kris Kringle.

It is sweet and corny.
It is brave and mischievous.
It is naive and twinkly.
Some of the songs work.
Some of them don't.
The first act is a tad too long.
Some of the plot seems dropped in as an afterthought.

Nonetheless, "Miracle on 34th Street" succeeds mainly on the strength of its two lead performers - Nicole Zolad as Doris Walker and Tony Lamberto as Kris Kringle - and an exceptional team of seasoned adult performers including Heidi Bass-Lamberto, Leann Crosby, Diana Bruenn, Nick Rapuano and Helen Malinka.

Staging "Miracle on 34th Street" director Lori Holm stays close to the source of the original 1947 movie for inspiration, going for full impact dramatically and comically, mixed with appropriate doses of melancholy, warmth, reflection and nostalgia. She is full of ideas, knowledge and enthusiasm and generates the right amount of holiday spirit without going overboard to make a point or drowning the theatergoer in "The Night Before Christmas" overkill. 
The script, as written by Valentine Davies, however, requires a number of scene changes that given the venue's small, intimate space, often interrupts the action as cast and crew work diligently - Santa's elves come to mind - to kick "Miracle on 34th Street" back into orbit, move the action forward and keep the adrenaline flowing. It's a task that Holm masters with engagement, carrying the audience along to the big finish, a place where miracles can and do happen and everyone lives happily ever after. Unfortunately, these shifts in time, place and scenery, though necessary to the production, add a half-hour to the already overlong proceedings.

Musically, this adaptation incorporates 13 "public domain" songs, handpicked by Holm to enliven the storytelling and spirit of the "Miracle on 34th Street" story. They are: "Here We Come a Caroling," "Wassail Song," "Brighten the Corner Where You Are," "Up on the Housetop," "Lucky Day," "Smile Will Go a Long, Long Way," "Jolly Old St. Nicholas, "I Heard the Bells on Christmas Day," "Toyland," "Golden Days," "In the Bleak Midwinter," "Feather Your Nest" and "Deck the Halls."
Shoehorning musical numbers into an otherwise non-musical play, the songs themselves, all well intended, pop up every now and then like variety show interludes similar in style to that of "Your Hit Parade," "The Ed Sullivan Show," "Ted Mack's Original Amateur Hour" and "Your Show of Shows." They are genuine, playful and vintage-ready and serve their intended purpose. A few could be cut for time constraints, particularly in Act Two where they slow the action down or add nothing to the ongoing holiday story.

In the role of Doris Walker, an attractive, divorced woman who works as an event director for Macy's Department Store, Nicole Zolad, has found yet another pivotal role to showcase both her dramatic and musical talents. Here, dressed glamorously in Kim Turret's impeccably designed 1940s period wardrobe, Zolad is runway ready, delivering a genuine, captivating performance in sync with that of the 1947 characterization created by Maureen O'Hara and one that in this incarnation, she interprets with a natural spark, honesty and sureness that makes her every on-stage moment really matter. Her hardline stance on keeping her young daughter grounded in reality is played with real emotion and concern, particularly when defining the Christmas myth surrounding Santa Claus. Elsewhere, her vocal interpretation of the Victor Herbert/Glen MacDonough song classic "Toyland," is nothing short of brilliant, rich and expressive with just the right touch of warmth, lilt and arrangement.

Tony Lamberto's star turn as Kris Kringle is every bit as magical and delightful as Edmund Gwenn was in the 1947 film version of "Miracle on 34th Street." Championed by an onstage naturalness and charisma that goes a very long way in this Arts of Angeloria's production, Lamberto is the real deal. He's charming. He's personable. He's magical. He's imaginative. He's in such fine form from start to finish, it's no surprise to anyone onstage or in the audience that everything he does works so well. Nick Rapuano, as Fred Gayley, Doris Walker's next-door-neighbor who eventually becomes her romantic suitor plays his leading man role with evolving rapport, emotion and strongness. He and Zolad work wonderfully together, engaging in a sweet-and-sentimental romantic coupling that produces all the right sparks, smiles and happily-ever-after enchantment.

Leann Crosby as Attorney Mara, a New York lawyer with a penchant for conceding point after point, comes to "Miracle on 34th Street" with the comic finesse and gait of a variety show vaudevillian who can make anything funny through the employment of line delivery, funny faces, positioning and punch and pull gather and grab. Heidi Bass-Lamberto, as Halloran, a nosy, gossipy type whose comic style recalls that of Vivian Vance's Ethel Mertz on "I Love Lucy," impresses at every comic turn, knowing exactly how to get laugh after laugh (her "Sanny Claus" schtick is hysterical) the way it was intended to be shaped and performed in the sit-com television world of yesteryear.

Equally impressive is Helen Malinka as Shellhapper and Diana Bruenn as Sawyer. They too come to the proceedings with lots and lots of stage presence, personality and great comic flair and dramatic invention. They are both natural-born entertainers who have great fun with their individual characterizations, dialogue, one-liners and interaction with other members of the "Miracle on 34th Street" cast. Kuhlken Gorman is wonderfully animated as Doctor Pierce, but stumbling over his dialogue from time to time, flatlines his performance. Lilly Wood's Susan Walter is adorable enough, but she lacks the open-eyed wonder and child-like innocence associated with the role. As James, the son of Attorney Mara, Felix Allen, makes a strong impression, particularly when he takes the witness stand in Act II to tell everyone that his mother told him that "Santa Claus" is real. It's one of those "standout" moments that audiences know and love. 

"Miracle on 34th Street" is being staged at The Arts at Angeloria's (223 Meriden Waterbury Turnpike, Southington, CT), now through December 3, 2023.

For tickets or more information, call (860) 426-9690.

website: theartsatangelorias.com.