A Second Visit to the magical Garden: MIT Gilbert and Sullivan Present The Secret Garden

The Secret Garden

Book and Lyrics by Marsha Norman

Music by Lucy Simon

Based on the novel by Frances Hodgson Burnett

Producer

Kelsey Peterson W '05

Stage Directors

Garry Zacheiss '00 and Ky Lowenhaupt

Music Director
Ian Garvie

Stage Manager
Kristyn Brophy

Technical Director
Garry Zacheiss

Dramaturg & Dialect Coach
Bridgette Hayes

Set Designers
Garry Zacheiss
Ethan Tyndall

Lighting Designers
Garry Zacheiss
Paul Quimby

Cast

Archibald Craven
Shawn Gelzleichter

Dr. Neville Craven
Rishi Basu

Mary Lennox
Abigail Dickson

Martha
Bridgette Hayes

Dickon
Sam Lathrop

Mrs. Medlock
Jennifer Ryan

Ben Weatherstaff
Michael DeFillippi

Colin Craven
Alexandra Upton

Lily Shannon
Rose McAuliffe

Rose Lennox
Rachel Baum

Capt. Albert Lennox
Terry Tamm

Alice
Lauren Burke

Lt. Peter Wright
Sean Benak

Lt. Ian Shaw
Brad Amidon

Maj. Holmes
Robert Morrison

Claire Holmes
Kelsey Peterson

Maj. Shelley
Brett Popiel

Mrs. Shelley
Lorraine Fryer

Fakir
Jenn Woodward

Ayah
Branigan LaCount

Nurse
Lorraine Fryer

Jane
Kelsey Peterson

Mrs. Winthrop
Lorraine Fryer

Children's Chorus
Ryan Burke
Andy Edelman
Sara Molano
Alexandra Upton

Theatre companies in and around Boston tend to do the same show as another company and I realized thats just the way it is. In the last several months, I have heard of multiple productions of Chicago, Spelling Bee, Rent and now The Secret Garden. These are wonderful shows and its always interesting and often rewarding to see them done differently.

This past weekend I had the pleasure of seeing MIT's Gilbert and Sullivan put up The Secret Garden. This was the 2nd production I had seen and another chance to talk about a completely different production. The musical is based on the famed novel of the same name, telling the story of young Mary Lennox, orphaned in India after the cholera epidemic took her parents. She is sent to live with her reclusive uncle, Archibald Craven in Yorkshire, England. Living in such a new and seemingly empty house, young Mary finds solace in trying to bring back a once-thriving garden on the estate grounds. She soon also discovers her sickly cousin, Colin, and forms a unique bond with him. As this goes on, we see Archibald dealing with the loss of his wife, Lily, ten years later, struggling to live his life while falling deeper and deeper into depression. As the book focuses more the children, the musical looks at the story of the adults. We see Archibald's and Mary's struggle to come with grips of this new situation, the best they can, but soon discover that it takes a great deal to overcome everything and try to find a semblance of family to help them get through their losses. With the use of flashbacks and then seeing the present, we see more into the lives of each characters. Family is a glimmering hope in all this, and we hope all comes together in the end. The driving force bringing everything together is a garden that causes something more than each character expected in not only themselves but for their world around them.

As I mentioned before, the music itself is very unique and works well with the particular period. Its a great score and is used very well to heighten several emotional scenes and moments. The book is based off the novel, and it does again, take several liberties. The aspects of India from Mary's past comes in when its convenient to attempt to fuel the story. My only complaint about the show itself is the book, as it tries to add additional exposition to an already established story. India is shoe-horned and makes some of the story feel uneven.  It doesn't make it less of a tale, just another look into different perspectives. This worked sometimes, but not as a whole. Also, some scenes where the ghosts from the past and Cholera epidemic would appear on stage were confusing, as there was no real establishment of reality and dream.

The set of the show, designed and created by Garry Zacheiss and Ethan Tyndall is a beautiful world. Kresge Little Theatre at MIT presents many challenges, as the stage is a bit small for such a large scale show. However, they use it very well, creating different areas for Archibald's office, the garden area, and bedroom. Behind the bed, there were several doorways that were created, overlaid with see-thru curtains that were used as portals almost, for different characters to use to blur the lines of past and present. Almost like a curved balcony area, the area was effectively used to join both worlds. Each doorway was lighted different colors from time to time, which was the fine work of lighting design by again, Garry Zacheiss, who apparently does everything and does it well, and Paul Quimby. Not only do they have excellent eyes to blend such unique colors like purple and reds effectively, but they are not afraid to use gobos. Gobos are often terribly underused in staging but also can be dangerously tacky if overused. However, the lighting designers used them as they were intended to create a believable and engaging environment. With a strong understanding of design, much love and appreciation was put in to bring the audience in, making it simply captivating. It was very impressive. The set and lights complimented each other well.

As for the direction, I appreciated the spacing and the proper usage of the ensemble. Garry Zacheiss, strikes again it seems. During a particular moment, he was able to create a nearly startling moment when he paired them up during the cholera breakout. With the use of white handkerchiefs, each ensemble member almost seemed like wind-up toys, one by one, running out of time. It was a great use of stylized movement combined with the reality of death and fear. However in some moments, I felt he could've given more for some characters to do. The space, is again, limited, but the director should give more freedom to his actors. In some numbers, more movement could've been used, causing a contrast between the song itself and the actor singing it. A minor issue, considering the show came together fairly well. Zacheiss is clearly a Renaissance Man, who accepts the challenge of creating such a world and manages to do a pretty great job.

There were plenty of strong performances in this production. Shawn Gelzleichter is at ease in the role of Archibald Craven, a character with such a soft, yet conflicted demeanor. Gelzleichter brings more to the surface then a man in mourning. We see bits and pieces of a once, sweet and happy man, but time and sadness has hidden that part away. He plays the role extremely well, fighting the coldness that may consume him. As all his numbers are beautifully sung, its his number he sings to his son, Colin, "Race You To the Top of The Morning" that was the one that stood out. He carries the story of the song from beginning to end with utter sadness and beauty. Another performance that stands out is Bridgette Hayes, who plays Martha the maid. She full of spritely, no-nonsense pride, and brings a bit of color to previously dark intro to the show. She is having fun with the role and her song "If I Had A Fine White Horse", is a joy to see as she brings amazing energy, clearly having fun. Rishi Basu, playing Archibald's more practical brother, Dr. Neville Crane, has a commanding presence that is only broken down briefly from time to time, as we see he is only human as well. Basu looks like he belongs in that period indefinitely, and he creates a wonderful performance. It plays well, especially with his duet with Archibald, "Lily's Eyes" where see these two vocal powerhouses share the stage. They are believable brothers and are strong contrasts that work extremely well together. Shannon Rose McAuliffe plays Lily, Archibald's wife, simply beautifully. With a marvelous voice, we see her move in and out of the present and past, creating such tender moments with Archibald. McAuliffe's chemistry with Gelzleichter is so wonderful to see, and we see each actor giving so much. Their duets together blend so perfectly that we only can imagine how strong their love was before her passing. Mary, played by Abigail Dickson, gives a strong performance, and it is clear she is on her way to many other great roles in the future. She plays the role with a obvious, simple maturity beyond her years, but her overall character arc is a bit muddled, due to the script and not a reflection on her performance. Alexandra Upton, plays Archibald's son, Colin. She is comfortable playing the young boy and many of the scenes she shares with Dickinson are memorable as we really see a strong bond created between the two. As for the Ensemble, they were strong as a unit and worked well with each other. With swelling voices, they help us see more of this world, coming in and out, wonderfully establishing their individuality. Even though there were stronger singers on the female side, it did not take away from the performances. All in all, everyone in the show gave good performances, bringing a wonderful story to life. There was much love for the material and it showed. We see the characters find their journey and destination unexpectedly, discovering that despite everything, they never truly lose those in our hearts.

This production of The Secret Garden is filled with wonderment and possibility. Through the characters' past and present, we see so much that can be realized, at the most important moments of their lives. Its the fact that they know in their hearts that they cannot give up and must go through so much to discover the things that matter the most. With all the pieces of performance, design and music, MIT's Gilbert and Sullivan's production is full of heart and establishes that even at our saddest and darkest moments, something hidden can be found again.

Anectodally Polictical: Lyric Stage Company Presents According to Tip

According To Tip

Again, one the most rewarding things about doing this blog is of course is able to see so many interesting productions in the city of Boston. I've talked about it before, but I think I find myself in a state of constant euphoria when I am about to attend a play or musical in and around Boston.

This was again the case when I went to go check out According to Tip, a one man show about the late and great Speaker of the House, Thomas "Tip" O'Neill. Truth be told, I discovered a few days before I was actually on the schedule to usher the show. I put on my blacks and headed downtown.

Produced by local film group, Harborside Films, According to Tip explores a local Cambridge man, Thomas O'Neill, who found his way through the trials and tribulations of local politics to the great House of Representatives in Washington DC. The show is a one person show, set between Tip's local office and his office in DC. We see his journey all through the elegant means of storytelling from his humble beginnings to the giant arena of the House of Representatives during the 60s, 70s and 80s. We get a chance to see the life and times told by the man himself.

Played subtly and simply by Dick Flavin, Tip's depiction is a kind man, full of spritely humor and has a knack for bringing you into his stories. Dick Flavin, a local radio personality, was very close with O'Neill and it made sense that he would be the one depicting him. There were some moments, in which Flavin would do a little jig or sing a bit to a piano track and would be a bit off, but that was mostly a sound issue. This particular device was used to break up much of the show. There was one adorable moment where Flavin as Tip sang a song to his wife and pantomimed a dance with her, reliving his wedding day with her. It was particularly cute to watch and it really showed us what kind of man Tip was. He commits fully to the role, and weaves his stories beautifully. Not being a politically minded person myself, I found it hard to follow some of the stories, but the script was written in a way that it not only did its best to describe the events and stories simply, but it managed to hit home with the born and bred audience. We hear his tales of his friendships and working relationships with the past great presidents, including Ford, Carter and Regan. He opens the show with a one-sided phone conversation with Ronald Regan and his establishing relationship, though are meant to imagine the other side of the talk, is believable. We see and believe that Tip’s friendship with Regan is real and genuine. Its Tip's story and Flavin takes us through his life, his events and his regrets. You see the genuine feeling in Flavin as Tip, especially since he knew him so well.  He interacts with the audience as well beautifully, really solidifying his relationship with us. He doesn’t speak at us but to us. It’s that connection that helps contribute to a strong experience. He was just a man, who like all of us, lived his life and did what he loved. It was that part of this show that I immediately identified with and appreciated.

The set is again, Tip's Washington DC office and his local Massachusetts office. Each office is dressed nicely, with keepsakes and collectibles from Tip's life. Giving us a sense of the time period as well, we are given a look into where he worked. With photographs and props, everything compliments the set fairly well. There also was a podium that was set up for Tip to show us various moments where he would be speaking up in a town hall or at another political event. Each moment is a bit of his history and a chance for some relive those times. I appreciated the attention to detail in the set design, especially because we were transported into his world.  It was put together not as an afterthought, but as a believable place where this man could have been working, knowing his personality and what kind of man he was. At times it was difficult for one side of the theatre to see what was going on, as the space worked against the show. Being only one person in it, Flavin had to play as much as he could to everyone else, though there was room to it do it a bit more.

As this play is again about the life of a political individual before my time, I found a lot of it hard to grasp some of events that he mentioned during his time. However, as I mentioned before, it was the fact that it was his story and we were drawn in as an audience. Thomas "Tip" O'Neill lived his life and chose his path to fight for what he believed in and to give voice to those that couldn't be heard. According to Tip is a well put together theatrical production that highlights the stories of a great man who was really there in the trenches, fighting the good fight. It reminds us that everyone has a story to tell, big or small, but like all great stories, it should one that cannot be forgotten. A great man who was just like us brings us into his world so we can truly understand where we were and where we are going.

Heart and Soul: The Anarchist Society of Shakespeareans Present A Midsummer Night's Dream

A Midsummer Night's Dream

Written by William Shakespeare

Director - Ron Lacey
Stage Manager - Lena Davis
Sets & Costumes - Sharon Lacey
Lighting - Jon Taie

Theseus/Oberon - Ron Lacey
Hippolyta/Titania - Marty Seeger
Philostrate/Puck - Mike Carr
Peaseblossom - Mindy Klenoff
Mote - Corina Bucora
Mustardseed - Leslie Drescher
Cobweb - Susan Rubin
Egeus - Rob Noyes
Hermia - Katie DiMarca
Lysander - Brad Smith
Helena - Mary Ferrara
Demetrius - Stephen Bagg
Peter Quince - Jon Taie
Bottom - Tom Beyer
Flute - Lou Lim
Starveling - Dennis Stevens
Snug - Gilly Rosenthol

A Midsummer Nights Dream is probably one of William Shakespeare's most produced shows, as I have seen or heard of at least a dozen productions over the last several years. It is no secret that it is definitely a popular one for that matter, as the piece itself can be interpreted in so many different ways.

A new company, the Anarchist Society of Shakespeareans recently put up a production of A Midsummer Night's Dream as their first show. They presented it at the Democracy Center in Harvard Square. As I am a huge fan of Shakespearen shows and I had yet to actually review one, I decided to check it out. A Midsummer Nights Dream, written by the one and only bard himself, William Shakespeare, focuses on the  events surrounding the marriage of  Theseus, the Duke of Athens, and the Hippolyta, Queen of the Amazons. These include the adventures of four young lovers and a band of amateur actors, who are manipulated by the fairies who inhabit the nearby forest. Through the use of magic and other devices, the characters are changed and reverted back to their original states, making them question the possibility of what happened or what they thought happened. Love and relationships are tested and despite various happenings, everything works out in the end.

Immediately coming in, I noticed the space was creating some challenges. The space was not completely unusable and not necessarily a bad place to put up a show, but it did seem rather cramped.  Though, in this town, free to cheap theatre space is hard to come by. No fault of the group, as it did create a more intimate space when effectively used. Also, since being in the middle of Harvard Square, the doors and windows were open throughout the production, allowing outside noises to travel in, which was severely distracting. As it is with any production, things will happen as it was no fault of the company's.

Ron Lacey's direction and vision is a strong effort, as having a pre-show with music from the 60s and dressing his actors in the garb of the same era. It had potential to create a world of the particular era, but it never goes beyond its initial presentations, ie the music and costumes. Its almost as though he could've spent more time creating the world, as we cannot always rely on the text to do all the work for us. Granted, I give him kudos for the effort of working with the text and having his actors be comfortable in this world. As he starred in it as well as Theseus and Oberon, his time did seem split amongst acting and directing duties, but not enough to really take too much away from the show. He does each well, but there always could’ve been a tad more effort. Some staging was also questionable as well, as we were in a function room; the seats were right behind each other on a flat floor. Anytime there was action below our sight lines, we had to adjust. The minimal vision did almost make the production at times feel very one dimensional. Again, it was the space working against the show.

As for the sets and lighting, there was not much there to actually constitute a world. Sharon Lacey and Jon Taie take on this space with their vision, but it falls short as an actual theatrical production. Again, in the space where the production takes place, lighting from the ceiling and Christmas lights were used. It was a nice touch, but again, to give more to the lighting would’ve been nice. Nothing substantial was needed, but if this world was meant to be in the 60s, more distinct lighting could have been used. Also, the set, dressed with flowers did give a nice feel as well as the use of chairs, but they were not enough to bring us into the characters' environment. They could’ve gone a bit further and threw in some more pieces, wall hangings or the like. The ideas were good and they played, but the lack of other additions made the show feel very flat at times. However, the costumes were nice, as they were very period. Dressed as hippies, partiers or staunch uptight types, each costume helped established each character well, adding more flavor.

The performances were solid, as they actors did their work and really became familiar with the text. Shakespeare is considered difficult in many circles and this group does a good job of holding their own. No one really stood out as a performer, but some real great moments were created during several points of the production. Some performances were stronger than others, and the weaker performances were the result of rushing the text and moments that were meant to be savored. Also, some tried for a laugh which worked some times but other times took too much away from the moment. As the show is comedy, much of the humor comes from the text and potential physical action so it really depends on the choices that are made. Mike Carr's Puck is wicked and playful enough, but his moments in his more memorable speeches are too quick. The text presents opportunities for so much interpretation, but a few disjointed moments were present throughout the show. The four lovers, Brad Smith, Mary Ferrara, Stephen Bagg and Katie Dimarca, were played well, however their relationships between them at times seemed forced and chemistry was not as strong as it could’ve been. Each did well in establishing their own individuality, but it was not fully developed when it came to how they interacted with each other. The players, Jon Taie, Tom Beyer, Lou Lim, Dennis Stevens, and Gilly Rosenthal, are strong as well, as they again do a good job in establishing who they are as well as their own personalities. They of course pull off their show within a show with flying colors, something that is always a hit with audiences. All in all, everyone, each part, does a good job and brings together a show filled with heart and soul. They all seem to feel at ease in their roles.

The show itself presented many good moments. It is a challenge to present such a well-known show in such a space, but I think for what they did it was a good starting foundation and template for future productions, taking in, of course, consideration of the size and to use that to their advantage. With some whimsical and fantastical moments, this particular interpretation of Midsummer could go even further and create an even stronger world. They have the makings of a great company as they just need a few things that can be used to create a stronger theatrical experience. As it is their first production, I hope to see more shows and continue to see their growth as a new promising Shakespearean group.

A Mess of a Show - Spider-Man: Turn off the Dark

Spider-Man: Turn off the Dark

Book by Julie Taymor, Glen Berger and Roberto Aguirre-Sacasa;

Music by Bono and The Edge, Lyrics by Bono and The Edge

Original Direction by Julie Taymor;

Choreography and Ariel Choreography by Daniel Ezralo

When I heard they were doing a musical based on the famous comic book web-slinger, I was skeptical, but at least I thought to myself it could be very interesting to see how they could pull it off.   Julie Taymor, Bono and The Edge were going to be involved.  I admit, I was intrigued a bit, but again, I think it was mostly because of the names that were attached to it and they all had a great track record to take on such a huge project.

Fast foward a couple of years. Spider-Man: Turn Off The Dark is currently playing in previews on Broadway.  The reason? It has been continuously hitting several production and creative snags.  Also, there have been several accidents involved with the show. Rewrites, recasts and various other changes in the show have been constantly going on. I don't think anyone these days hasn't heard of the many issues with putting this show up. With a whopping 65 million dollar budget, this is the most expensive Broadway show ever conceived.  If you want to read more, as I don't want to spend this review talking about it forever, just Google "Spider-Man Musical Problems." I guarantee you'll find something worth reading. Also, the Wikipedia article is worth checking out.  I for one can't help but admit that for all these reasons and more, I found myself buying a ticket and checking it out.

Bono and The Edge of U2 fame are responsible for the score for this show. Best known for their rocking and pounding music, U2 is one of the most popular and influential bands, proving that they still rock after 30 plus years. Julie Taymor, Glen Berger, and Roberto Aguirre-Sacasa were responsible for writing the book and story for the show. Taymor, of course, is best known for her work on the staged musical of The Lion King, putting her on the map as one of the most imagery and scenery driven directors.  Spider-Man: Turn off the Dark is based on the Marvel superhero of the same name.  The story follows young Peter Parker as he is endowed with super spider powers after being bitten by a genetically altered spider.  Struggling with the day-to-day problems of the average teenager, his relationship with his girl friend Mary-Jane, finding his place in the world around him and stopping the crazed Green Goblin, Peter finds his calling as a hero and as Spider-Man and tries to balance it all. 

I have to say, that this show, every single bit of it, was a complete mess.  The first obvious parts were of course the book and music. Taymor, Berger and Aguirre-Sacasa struggle to form some sort of story that is loosely based on the first movie that came out years ago.  The story apparently went through several changes and you could tell that pieces of each person's ideas came together, but not in the best way.  There was the introduction of Arachne, the character from Greek mythology who apparently represented a sort of guide for Peter. She was supposed to anyways, as she was terribly underused and was kind of shoe-horned into the story. Her addition neither took away nor gave something to the story. She was just there. Also, there were many elements of the original story of Spider-Man that were removed, that didn't necessarily effect the overall arch much, but to many die-hard comic book fans, it presented many problems.  There were many plot elements that didn't make sense and it left you questioning the holes they made. The first act was rushed as Spider-Man had to make his debut. As for the music, U2’s Bono and The Edge are known for their pulsing and rocking songs that have been some of the biggest hits with the masses. This was not the case for this score. There was lots of power behind the music, but it had no substance. With unmemorable songs, this was another issue that plagued the production. I want to go to a show, walk out and hum the music because it should stick with the average theatre goer.  I was not impressed by the music and I felt a bit let down, knowing the two's particular track record.

Taymor's initial direction is as expected. She clearly captures the story as well as she can, but combined with elaborate costumes, moving set pieces and big projection screens, I could only wonder how this production could look so cheap with such a huge price tag.  It felt lazy and forced.  I think at this point, everything on stage, between the stylized set pieces and over-the-top costuming for the villains, was doing it just to make it a statement.  Granted, the city set pieces, moving walls and projection screens were quite impressive as a part of design concept but just didn't fit with this show. However, the high-flying wire work was really fun to watch. As Spider-Man swooped down from the balcony and over the audience, I got goose bumps and was really impressed.  The frustrating thing of course was the fact that you'd have to pay a bit more to be a part of the "Flying Circle" area to have the action fly over your head. Being the balcony was nice, but you would catch only about a third of what was happening. At one point I realized that I was not actually watching a musical. At that moment, I remembered reading somewhere Taymor, The Edge and Bono described it as a rock opera/circus show.  Clearly, I could see what they were going for, but it seemed rather ambitious combining all those different elements.  If several things didn't sync up too well, it creates a messy vision. Perhaps changing the show into a more Cirque De Soliel show would be a much better idea. With high-flying acrobats and huge sets, it seems like the better direction

The performances of the actors were less than impressive. Reeve Carney, who pays the title hero, has the pipes, channeling a bit of Bono.  However, he was clearly phoning it in. As his wire work was impressive, his actual performance was a bit dull.  Jennifer Damiano, who just recently came off of Next To Normal, falls short as Mary Jane Watson. The chemistry between the two is no where to be seen, as both of them are clearly going through the motions. Patrick Page is probably the more active one of the three leads, as he plays the sprightly Norman Osborne well enough.  When he transforms into the Green Goblin, he clearly enjoys hamming it up and has a particularly cheesy moment a la lounge singer when awaiting his final battle with Spider-Man. He has fun and makes his performance stand out.  Everyone else in the cast is talented for sure and works their butts off to put on a show, but again, with the material, they can only go so far. Again, the actors pull of the aerial stunts well, but like the leads, everyone was going through the motions. Literally.

So there you have it. Spider-Man.  I felt like I was a part of history in some ways. There is no denying that the show had some really interesting elements and some great aerial acrobatics.  That was about it. When I went to the show in NY, the house was packed with families and tourists alike.  The show will continue to sell but the question remains: Will it actually open?  I didn't hate the show, but as you can see, I thought it was a complete mess, but I am glad I was a part of it. With giant sets, highflying moments and a sub par score and plot, Spider-Man stands out as a very unusual and confusing experience. The show will continue on and remain as a slice of Americana in its most unique form.

Nearly There: Hotel Cassiopeia presented by Fort Point Theatre Channel

Hotel Cassiopeia

By Charles Mee

Production Design/Concept by Sylvie Agudelo
Stage Direction by Marc S. Miller
Assistant Director, Christie Lee Gibson
Stage Manager, Aaron Cohen

John Crowley: Set construction

Jennifer Hardy: choreographer
Tanya Kutasz, stage manager
Andrew Neumann: composer
Robin Reilly: costume consultant, set construction
Todd Sargent: lighting design
Nick Thorkelson: set design collaborator, graphic design
Douglas Urbank: film design
Daniel J. van Ackere: set construction, photography
Mark Warhol: sound design

The ensemble
Robert Murphy (appearing courtesy of Actors Equity Association)
Jake Berger
Mary Driscoll
Silvia Graziano
Meredith Stypinski
Allison Vanouse
Rick Winterson

There are many places that I find myself venturing to all over Boston in order to catch a show. I think that’s probably one of my favorite things about doing these reviews. Specifically, I found myself in South Boston at the Channel Center, a small office/restaurant park checking out the Fort Point Theatre Channel's production of Hotel Cassopeia.  The play was written by Charles Mee, a writer best known for his collage like work in his text for the stage. He is inspired by other works and existing texts to create his own interpretations. The story takes a look into the life of artist Joseph Campbell and his relationships with the various people in his life, including famous celebrities of the time and his family members.  Campbell was known for his assemblage type pieces that were essentially interactive wooden boxes or frames that had bits and pieces of found objects, from a time piece, paper, seashells, etc. Whatever he could use was placed in his art. Not having seen anything like it in person, I was going off on what I had read and seen pictures of. It was very fascinating to see what exactly he was trying accomplish. Mee's play is appropriate to tackle Joseph Cornell's life and relationships, as they both share the common ground of assemblage.

The space where the production was presented laid out a lot of different challenges at first glance. Placed in a art gallery type area, it was clear that trying to put on a show in that space was most likely difficult to stage effectively. The obvious issue was the fact that huge pillars obstructed the views of various set pieces. Though the design was a good one and a great idea, specifically a large city skyline, a giant pillar was standing in the way, preventing a much desired view to see more. Again, this is the space the show was in. As for some other pieces of the set, it seemed it was trying to integrate an Art Deco feel, but never going on to expand on it. It was simple enough with chairs, tables and the like, but to see more would’ve created a stronger world. There pieces that were put in that almost felt out a place but would’ve been other complimented if more was added.  Pieces or actual examples of Cornell's work would've added a nice touch as well. Nothing substantial is needed, but enough to give a sense of his mind. It was nice to see some of it included, like papers and a seashell here and there, but again, it couldve have been pushed further. As for the lighting, I appreciated the use of strong colors lighting various walls of the stage. I enjoyed seeing such a nice blue, pink and turquoise, but there were some black spots that were obvious and often when an actor couldn't find their light, it ended up being distracting. Even at certain times, either of emotion or isolation, it would’ve been good to see more specials or a few other colors thrown in. The designs had started a good foundation but more could've been built upon it. As for the costumes, I appreciated the simplicity and the period appropriate feel of the attire.  The red ballerina dresses stood out for obvious reasons, but they were not only well crafted but worked for the show.

As for the direction, I felt the world that was created was almost an assemblage, much like Cornell's work. I appreciated this choice, especially since the text lends itself to so much interpretation.  However, there were times where I felt the blocking ideas were very strong, but there was almost a lack of intention with certain moments.  I wanted to see Cornell showcased more downstage and often felt he wasn't utilized as much as he could’ve been.  Also, there were few moments where various clips of black and white movies that were highlighted.  As I appreciated the usage of film in a stage production, it felt sometimes shoehorned into this production and out of place. As for the sound design, the classical music was an incredibly nice touch and played well to the more emotional moments throughout. The harsher sounds and tones used were a bit too much at times, though and felt anachronistic, not necessarily fitting in. This doesn't take away from the fact that there so many great ideas integrated into the show, but it didn’t seem like they would’ve worked for this one in particular.

The ensemble pulls of some good performances. Robert Murphy's Joseph Cornell is believable enough as an unsure, quiet, soft-spoken kind individual. He carries the show well and he displays a soft demeanor incredibly well. However, with Mees' text, he doesn't expand and build upon what he speaks about and what he’s passionate about. The relationships he has with others, including his ill brother could’ve been a bit deeper, knowing that he had given up so much in order to take care of him. He does it without thinking, knowing he would never regret the decision. As for the rest of the ensemble, everyone else does a great job in establishing various characters. It was very noticeable that even with different characters; each actor interacts with Murphy's Cornell carefully and are aware of their world. Again, the text creates a wonderful opportunity to take characters and moments to varying levels. I felt everyone did a great job in really taking their time with and understanding the words.  In one moment, the roles of the ballerinas are done beautifully and Silvia Graziano, Meredith Stypinski, and Allison Vanouse create three very lighthearted and sweet characters and are a joy to watch on stage. Everyone does a strong job in creating believable and engaging characters.

Again, this particular production presents a very strong foundation. The envelope could've been a pushed more here and there, but the show stands alone on its own two feet incredibly well. The ART has always been known to do these kinds of shows and Fort Point Theatre Channel creates a staged performance art piece that isn’t necessarily in your face about it. I appreciated that their attempt to create this world was filled with so many great ideas. Even though some worked and others didn't work as well, there was an enjoyable night of theatre displayed, filled with strong moments and performances.

A Garden of Worlds: Secret Garden

The Secret Garden

Book and Lyrics by Marsha Norman
Music by Lucy Simon

Directed by Kaitlyn Chantry
Music Directed by Jason Luciana

Ben Weatherstaff
Lewis Blair

Child
Madeleine Carbonneau

Lieutenant Wright
Michael Chateauneuf

Neville Craven
Kevin Cirone

Mary Lennox
Lucy Gladstone, Allsun O'Malley

Mrs. Medlock
Jocelyn Hesse

Betsy/Jane
Susan Johnston

Claire Holmes
Heather Karwowski

Lieutenant Shaw
Sam Lathrop

Fakir
Taylor Lawton

Martha Sowerby
Shonna McEachern

Major Holmes
Aaron Moronez

Colin Craven
Joseph Nedder

Albert Lennox
James Neufeld

Dickon Sowerby
Stephen Piergrossi, Jr.

Ayah
Pavithra Rajagopalan

Lily Craven
Renee Saindon

Alice / Mrs. Winthrop
Michelle Vachon

Rose Lennox
Eliza Xenakis

Archibald Craven
Matthew Zahnzinger

I managed to catch the opening performance of The Secret Garden presented by The Longwood Players the other night at the Cambridge YMCA. Needless to say, I have never been a huge fan of this particular space because of the ability to actually use the space effectively. Also, the last time I was there, I didn’t recall it being the prettiest of spaces either. However, the night I came to see the show, it looks like the space was recarpeted and repainted giving it a bit more character and it became a hundred times more presentable. I was very impressed.

The musical is based on the famed novel of the same name. The story tells of a young girl named Mary who moves in with her reclusive uncle Archibald Craven in Yorkshire, England. She moves from India since being orphaned after parents were taken during cholera epidemic. She realizes she has to do her best to make do. However, she soon discovers a garden hidden away that only requires some attention to bring it back to its once-thriving self. She quickly befriends her sickly cousin and also enlists help from the various grounds keeping staff to help bring the garden alive. Along the way she learns a great deal about her new world and about herself. As the book focuses more on the children of the story, the musical focuses on the adults, including Archibald and his relationships with others, specifically having a hard time with moving on after losing his wife. The show moves back and forth between the present and past and we learn more about Archibald's state and eventual acceptance of the circumstances placed upon him. We also see Mary grow over the course of the show as well, accepting her new calling. People from the past make their way into their story, giving us a better sense of the world where this takes place.

The score for the show is beautiful. Written by Lucy Simon, it definitely has a very powerful and swelling sound. I appreciate how much of it felt right for the particular era the show fit in. Marsha Norman wrote the book and lyrics and knowing that the basis was the novel, it was obvious that certain liberties were taken, specifically adding or amplifying certain moments. Young Mary had lived in India and it was clear that there was a presence of it throughout the show and it almost felt shoehorned into the actual story itself. It felt tacked on and at times confusing almost changing important moments. Also, the writing also presents a challenge by having the dead from the past be a part of the story. This creates a major issue for costuming and staging, considering its up to audience to figure out who is dead and who is alive out of the ensemble. However, as the overall story is still there and there were some moments, specifically seeing more of Archibald's struggle, were particularly interesting to watch.

Kaitlyn Chantry's direction is unique and well executed. In this production, she knows that YMCA is a small space and does her best to use every bit of it. She creates a community-like world and has all ensemble members present on stage. When a scene comes about where the ensemble must come forth, like the soldiers from India who knew Mary's father, they slip into the scene, and then quickly out. There were some moments it felt, however, that it was sometimes distracting to have everyone on stage when certain action was going on, but not enough to create complete congestion. Various moments with Mary trying to make her way through the rest of the cast worked, as it created a sense of alarm and confusion, which heightened the emotion very well. Music Director Jason Luciana does a great job of keeping the orchestra in tandem with each other. He brings together incredibly talented musicians to create a strong sound. They are neither to quiet nor overwhelming and they bring a subtle feel to the overall score. They are just right in order to help us lose ourselves in the story on stage. They play the softer moments especially beautifully, including "Race You to the Top of the Morning".

As for the cast of the production, everyone did a marvelous job. As a unit, the ensemble sounds wonderful and each player holds their own. Some strong performances included Shonna McEachern, who plays Martha Sowerby the maid, who is a joy to watch. Not only does she play it with a wee bit of sass and the right amount of kindness, she has the pipes to boot. Her song "If I Had A Fine White Horse" is beautifully sung and her Yorkshire accent is done well for the piece. Matthew Zahnzinger plays the brooding and quietly reserved Archibald Craven incredibly well. You see the guilt and sorrow he carries and brings such intensity to his moments. His song "A Bit of Earth" was a highlight of his performance and he plays it simply and you start to see a new side of him. Mary is played by up and coming Allsun O'Malley. She does a great job of carrying the show on her shoulders. She not only has a great interaction with the rest of the cast, but you genuinely see her grow throughout the show. With talent like that at such a young age, she will be one to look out for in future theatre productions around Boston. Each actor in the cast goes to great lengths to create a unique and interesting character. They succeed and bring a noticeably strong chemistry to the stage. When "There's a Girl" swells, the ensembles voices carry through the theatre wonderfully. Many kudos to the cast.

The lighting design uses so many different warm colors and tones that help create this world. One minute there are beautiful reds and oranges that really bring out the feeling of sunlight. The next, each actor has a small candle on a darkened stage during the Storm moments. It was a strong and effective lighting choice that helped convey the story. There is such variation that it brings such a great flavor to the production. The set is a hodgepodge of various items and I appreciated the detail that was implemented. Portraits and other items from the time period are displayed on the walls created an almost pack-rat feel that gave a sense of the disorder Archibald's world was in. Bits of the neglected garden sneaks its way through as well, bringing these worlds together. The costumes fit beautifully as well with the show and are a perfect reflection of the time period. Again, the details are amplified in the show from the soldier’s time period appropriate hats to the earthy tones for various members of the cast. It was a strong choice that not only makes sense for this show, but also blended well with the vision.

The Secret Garden is a classic story of growth, love and family. The Longwood Players create a beautiful production with a strong cast of talented actors. The emphasis of such powerful themes is present and each piece of the production contributes a great deal creating a wonderful visual for the stage. The importance of family is ever present throughout this show and teaches us the lesson that the future can be bright for everyone,  even if we can't see it right away. There is hope. Everything comes together nicely and intertwined in a very unique way, creating a very enjoyable night of theatre.

Decently Done: MIT's 25th Annual Putnam County Spelling Bee

25th Annual Putnam County Spelling Bee

Producer Jackie Simpson '14
Director Dawn Erickson '07
Music Director Matthew Putnam '09
Vocal Director Danbee Kim '09
Choreographer Dawn Erickson '07
Technical Director Edmund Golaski '99
Stage Manager Christiana Toomey
Set Designer Kelsey Brigance '12
Publicity Manager Kaitlin Burroughs
Publicity Designer Helen O'Keefe '09
Program Designer Daniel Sngiem '12
Lighting Designer Sophie Lee '12
Master Electrician Becky Bianco '12

Chip Zach Barryte '13
Olive Betsy Flowers
Rona Krista Sergi
Marcy Amanda Lazaro
Leaf Rachel Bowens-Rubin 11
Barfee Christopher Puchi
Logainne Jasmine Florentine '11
Mitch Carlos Cardenas '09
Panch Jeffrey "Q" Quinlan

Yet another production has cropped up of "25th Annual Putnam County Spelling Bee" in Massachusetts, specifically with MIT's Musical Theatre Guild. I had seen the show done before, but didn't review it. This was a chance to see a new interpretation and go through my thoughts. The music and Lyrics were by William Finn, best known for his work on "A New Brain" and "Falsettos". The book was written by Rachel Sheinkin. Before I saw the show, I was very familiar with the music and really enjoyed the concept. This was a college production so I wanted to see what direction they took.

The story takes place in the gynamsium of the local middle school where 6 youngsters, played by adults, compete in the 25th Annual Putnam County Spelling Bee. The characters included William Barfee, or rather BarFAY, who spells out his words first with his foot, Olive, a neglected child whose best friend is the dictionary, Leaf Coneybear, a child of hippies who is easily distracted, Marcy Park, a studious child prodigy, Chip Tolentino, last years straight laced champion, and lastly Logainne Schwartzandgrubenierre, the youngest and most politically concious speller. To moderate is Putnam County's number one realtor and former champion, Lisa Rona Peretti and Vice Principal Douglas Panch. To help counsel the ones who don't make it through, is ex-con Mitch Mahoney, doing his community service. Guest spellers are invited on the stage and interact with the cast members. The show requires a great deal of improvisation and creative words and spelling.

When I saw the stage, I felt the set was a bit of a let down. Kelsey Brigance's created a simple enough set with bleachers and a table, but that was about it. It never went beyond this concept, as I wouldv'e liked to see more of a dressed set, giving the feel of being in an actual gynamsium. Perhaps a banner or two would've given it a bit more flavor, creating a world to get in to. Sophie Lee's lighting design was at times a bit confusing. I felt at times that colors that were used througout various numbers were thrown in just to give color to a moment, with no real intention behind it. However, it worked for some scenes, though, including the rousing "Pandemonium" where hightened craziness was present, but it lacked consistently throughout the rest of the show. Also, there were several black spots in the lighting which was very distracting. Between that and actors putting themselves in black spots, it took away a great deal from the show.

The performances in the show didn't mesh as well as they could've. Even though everyone is hamming it up and having a good time, one of the more noticable things was the fact the break down's of the vocal parts were poorly assigned. Some people were given parts they couldn't sing as strongly and others were given songs that were challenging due to their ranges. The actors were also given fairly simple choreography but they never really committed to a lot of it at some points, and it felt like they were going through the motions. They did however have a chance to be a little erratic during bigger group numbers, which in some cases worked. Rachel Bowens-Rubin, who was cross cast as Leaf Coneybear plays the role a bit too distracting and erratic. She at least she looks like shes commited to having fun, but she never really establishes a consistent character. Zach Barryte plays Chip Tolentino, who like everyone else, has fun with the role, but brings a tad too much intensity to the character. In his number "My Unfortunate Erection" he is near to the point of yelling, causing the audience to become a little uncomfortable not because of the song itself, but his interpretation of it. Amanda Lazaro's Marcy Park is strongly established and she seems calm but with a underlying frustration, creating a good character choice. However, her number "I Speak Six Languages" lacks a bit of commitment to the movement and vocal strength to carry it throughout. Betsy Flowers' Olive is good as well and she manages to pull off a nice sweet individual who you feel for lack of parent attention. During her number "The I Love You Song" she in her own touching way, loses herself with the vision of her parents, desiring only to be united with them. Jeffrey "Q" Quinlan plays a simple enough Panch, but doesn't really tell us what kind of character he is. Though he has good comedic timing, he is a bit repetitive in his on stage choices. Jasmine Florentine's Logainne gives a decent performance as a politically concious child who struggles with her own overbearing two dads. She sings it well and gives us a solid journey. Krista Sergi's Rona Lisa Peretti is played sweetly and you feel that she is truely a caring and loving individual. She is assertive in her attitude. Carlos Cardenas plays the silent and intimidating Mitch Mahoney extremely well, who deep down is a bit of a softie. He carries his own number "Prayer of the Comfort Counselor" with killer pipes, utter confidence and joy. Christopher Puchi pulls off a triple threat that is Barfee. He is clearly comfortable in the role, full of confidence and silliness and is fearless showing off his crisp dancing and singing in "Magic Foot". Even though there was a split between stronger and softer singers, evert actor clearly had fun with their characters as it showed throughout.

Dawn Erickson's direction at times made sense, specifically bringing characters throughout the audience as well as having the guest spellers be pulled into various dance numbers. However, there should have been a bit more work with character development, as it felt some actors were given free range and not being pulled back. She does a good job of bringing it all together but at many times the attention was pulled away because of sudden choices by the actors during pivotal scenes. At several points, the production lacked the strength and potential to amplify simpler moments and often had too much for the moments that were meant to be savored. As far as the music, Music Director Matt Putnam chose to rewrite a lot of the score which seemed odd at the time, but he and his orchestra manage to pull off a strong sound. As they were loud even behind a curtain, they often overwhelmed the actors. There were also sound issues with the speller's microphone, which was somewhat distracting as well.

Despite the shows weaker moments, the production is decently done. The cast and crew clearly had a great time pulling it all together. MIT's production was full of heart and a lot of effort was put in to create a fun evening for the audience.