"Uma Vida Imaginária"

June 28, 2015 — For the final show of their season, theatre KAPOW presented Nick Farewell's "Uma Vida Imaginária" at the Derry Opera House in Derry, New Hampshire. I've always believed it must be much more difficult for two actors to carry a play than a large cast, especially one like this with a large amount of dialog. But Carey Cahoon as "the woman" and Mark Marshall as "the man" were excellent in this unusual production, directed by Matt Cahoon.

Performed before a sparse audience on a rainy Sunday afternoon, this play deserved a larger audience. A married couple share frustration over the oppressiveness of their humdrum lives. Performed on a simple set with minimal props, augmented by the most ingenious lighting and projections I've ever seen, thanks to lighting design by Tayva Young and projection design by Wax Idiotical Films, the actors do their own furniture rearranging between the many short scenes.

Besides great acting, I think what makes the play compelling is that we can all relate to the frustration of the characters over boredom with their everyday lives that are taken up with jobs, paying the bills, household chores, and petty disagreements that sometimes turn into major hostilities, while they dream of greater things. I hope they get better attendance for this evening's performance. It's too good to miss.

"Red"

June 24, 2015 — Two men, engaged in conversation for ninety minutes, some of it confrontational, some pointless, some angry, much of it funny, receive a standing ovation at the end. Why? Good acting, good direction, compelling subject matter. These are the things that inspire an appreciative audience.

The Peterborough Players in Peterborough, New Hampshire presented John Logan's "Red," directed for the Players by Keith Stevens. Gus Kaikkonen appeared as artist Mark Rothko who's been commissioned to paint a series of murals for the Four Seasons restaurant in 1958. That part of the story is true. His conversations with his hired studio assistant, Ken, played by Lucas Van Engen, are largely from Logan's imagination.

Rothko is abusive, insulting and sometimes threatening to his rather meek assistant. Rothko believes Ken is incapable of understanding Rothko's abstract impressionist art. It's not until near the end of the play that Ken starts to rebel and challenges Rothko's opinions.

Scenic designer Charlie Morgan's set, a messy, sprawling, dimly lit art studio with a large movable wall as its centerpiece, one that can be rotated to present different sides as the play progresses, gave the stage the feel of a dedicated painter's work area, and was perfect for this play.

"Red" proves a play consisting of little more than words can be as entertaining as a musical with high-energy song and dance numbers or an Agatha Christie mystery.

"Gypsy"

June 23, 2015 — It was with some trepidation that I took to the road for New London, New Hampshire where I had a reservation for "Gypsy" at the New London Barn Playhouse. The meteorologists were forecasting a chance of heavy rain, hail in some places, damaging winds, and even a tornado threat! In fact, a tornado did touch down in Massachusetts. The temperature was near 90 and you could cut the humidity with a knife, real storm-breeding conditions. But the worst never happened, the sky cleared, the humidity dried up and the evening was beautiful.

I had seen "Gypsy" nine years ago, but had forgotten enough of it so I could enjoy it as a new experience once again. This production of the legendary musical based on the memoirs of stripper Gypsy Rose Lee with music by Jule Styne, book by Arthur Laurents and lyrics by Stephen Sondheim, was directed for the New London Barn by Peter Hackett.

The New London Barn excels at musical productions, and this one met their usual high standards. Anne Torsiglieri led the fine cast as Mama Rose. With her powerful voice, she's a worthy successor to Ethel Merman who originated the role on Broadway. My only complaint is that her endless domineering control of her daughters' careers became a bit tiresome late in the show. But her finale, "Rose's Turn," brought the house down. Eric Bunge was perfect as her long-suffering love interest. Acting intern Caroline Jackosn was irresistible as the daughter Mama Rose doted on and attempted to promote through the first act.

Another intern, Kimberly Pine, played Mama Rose's neglected daughter until (small spoiler alert) she undergoes a remarkable transformation in the second act that really showcases the considerable talent of this aspiring actress.

With great dance numbers and classic songs like "Small World," "Everything's Coming Up Roses," "Together Wherever We Go" and others, it was a memorable evening that had the near full-house enthralled throughout.

"Jesus Christ Superstar"

June 17, 2015 — About five minutes into the Winnipesaukee Playhouse's opening night performance of "Jesus Christ Superstar," an ear-splitting fire alarm went off, apparently caused by a haze effect which was part of the show, and everyone, audience and players, was ordered to evacuate the theatre. Ushers quickly explained there was no fire, so the evacuation was calm and orderly, although many were holding their ears against the almost painfully loud alarm.

We all waited outside about fifteen minutes for the fire department to confirm what we all knew, there was no fire, then filed back in. The interruption didn't throw the players off their game one bit. They smoothly picked up where they left off as though nothing happened, a tribute to their professionalism.

The Winnipesaukee Playhouse is located above Lake Winnipesaukee in the picturesque town of Meredith, New Hampshire. This production of the Andrew Lloyd Webber/Tim Rice musical, first staged in the '70s and updated to 21st Century attire and sensibilities, but with all the great music and lyrics unchanged, was directed by Neil Pankhurst. At first, I found the volume uncomfortably loud, but we must remember "Superstar" is first and foremost a rock concert, and loudness is expected. I became accustomed to it.

This was an excellent production. I've stressed before I have no qualifications to be a critic, so I call my comments "observations" rather than a review. The important thing is that I know what I like, and I really liked this show. The singing was superb, notably by Anthony Nuccio as Judas, John Wilkenning as Jesus and Rebecca Tucker as Mary Magdalene. They gave us chills with the power of their voices. I loved Tucker's rendition of "I Don't Know How To Love Him." The entire large cast was excellent. There were great dance numbers choreographed by Tara Little, with music directed by Judy Hayward, all on an impressive set designed by Neil Pankhurst, Andrew Stuart and Katrina Paul.

The resounding finale of this play, when everything is done right, has a powerful and profound effect on the audience, and the Winnipesaukee Playhouse has done everything right. The cast earned a standing ovation at the end. The play runs through June 27.