Christmas 2019

December 24-25, 2019 — For the 10th year in a row, I traveled to southeastern Massachusetts to share Christmas with my extended family. Once again, the weather cooperated and there were no travel problems. Many thought it was the best Christmas ever. That's a tough decision to make. They've all been memorable get-togethers, filled with warmth, happiness and humor.

The fascinating thing to me is the growth of the family. Babies at that first party are now 10, and those that were 10 are now in college. And of course, marriages and births have brought new members to the family.

You can see my video and photo coverage of this year's festivities at this link:

https://www.linwoodstreet.com/christmas19/

"A Tuna Christmas"

December 15, 2019 — This madcap comedy is set in the now fictitious town of Tuna, Texas, although the Texas State Historical Association says such a community once existed. The Peterborough Players in Peterborough, New Hampshire presented A Tuna Christmas by Ed Howard, Joe Sears and Jaston Williams, directed by Players artistic director Gus Kaikkonen, with a cast of only two actors, Tom Frey and Kraig Swartz, playing eleven characters each, both male and female. Scenic design was by Emmy Boisvert. Special mention for this particular production has to go to costume designer Lisa Streett-Liebetrau.

Frey and Swartz, Players audience favorites and two of New Hampshire's finest comic actors, outdid themselves in this frenzy of rapid backstage costume changes, skillfully executed by actors, dressers and director. Swartz had appeared in the play some years earlier, but it was all new to Frey who said he was warned it would feel like being mugged. In one incredible scene, Frey plays two characters, each in different costume, in a shoving match. How? You have to see it!

Christmas is approaching and everyone is wondering if Vera Carp will take the prize for yard decoration for the 15th year in a row. Will the local theater production of A Christmas Carol go on, or will it be scuttled by censors and a threat by the electric company to cut the power because of unpaid bill? This doesn't look good for Stanley, out of prison, who is scheduled to appear in the play  as part of his community service, ending his probation so he can finally get out of this dead-end town. Will the unidentified "phantom" once again vandalize yard decorations?

The dialog is every bit as hilarious as the antics of the actors and the costumes. This is rural Texas, good people with small-town values which can be easily put aside for convenience. Baptists not allowed to drink? Pretend you're a Methodist. Cheating is OK if it helps someone, like fulfilling Stanley's community service.

You might not expect to find Broadway-quality shows in a theater in the New Hampshire woods, but never under-estimate Peterborough Players. This summer theater, established in 1933, has expanded its season to include three live plays in the winter, along with high-definition screenings of productions from the Met and National Theatre and other organizations.

"The Norwegians"

November 10, 2019 — There are four things that would help you in your understanding and enjoyment of "The Norwegians" by C. Denby Swanson. (1) Having lived or spent time in Minnesota. (2) Intimate acquaintance with Norwegians. (3) Having been a fan of the radio show "A Prairie Home Companion." (4) Having seen the movie "Fargo," preferably more than once. None of the preceding are essential, but without this exposure, some of the Minnesota/Norwegian humor may be lost on you.

Minnesotans and Norwegians are "nice." They're unfailingly polite, fair-minded and helpful, even Norwegian hit-men like Tor (Dan Tetreault) and Gus (Ryan Orlando). They've been hired by Olive (Melissa O'Neil) to kill her ex-boyfriend for a sin no worse then dumping her. Olive's recently acquired friend, Betty (Tracy Mullen Cosker), who she met in a restroom, also has put out a hit on her own boyfriend, who happens to be Gus, unknown to Tor.

Does this make sense? Of course it doesn't. You have to hang on to every word of dialog and pay very close attention as the play switches frequently between past and present. I admit I got lost in it and had to research it on the internet to decipher the plot points after I got home. I'm still not sure how to interpret the ending.

The play is rich in regional, religious and ethnic humor, although it's never mean-spirited. Best performance is by Cosker. Her character, Betty, delivers a hilarious monolog at the beginning of Act 2. The rest of the acting is good, but the play dragged a little, at least for me, especially in Act 1.

This was sort of an extension of my summer theater season. "The Norwegians" was staged at M&D at the Eastern Slope Inn Playhouse in North Conway, New Hampshire. Rich Russo directed, Dan Tetreault was the scenic designer, and Mary-Ellen Jordan was responsible for costumes.

"Deadly Murder"

October 7, 2019 — Camille (Wendi Yellin) is a skilled jewelry designer whose talent has lifted her from her humble beginnings to proprietor of her own highly successful business in New York and a luxurious apartment. Her only vice is a weakness for handsome young men. As the play opens, it's morning, and Billy (TJ Lamando), Camille's latest catch, is standing in Camille's apartment bare-chested, wearing only a towel.

Billy gets dressed, Camille prepares breakfast, their conversation is playful at first but takes a sinister turn when Billy reveals a knowledge of Camille's past she has carefully safeguarded. How does he know these things? As Billy becomes threatening, Camille orders him from her apartment. When he refuses to leave, Camille calls Ted (Thomas Daniels), the building security guard. Billy overpowers Ted, knocks him out, and gets possession of his gun. There's a warning in the show's program that there will be gunshots during the performance. I counted three, or maybe four, over the course of the two acts. To quote a famous Clint Eastwood line, "In all the excitement, I kind of lost count."

Yellin, Lamando and Daniels do a great job of carrying this tense, at times humorous, drama of double-crosses and switches, so many that any of your guesses as to where it's headed will almost certainly be wrong. There are several well-choreographed scenes of violence. Fortunately, the most gruesome act occurs out of sight of the audience. All I'll say is there's a lot of blood. Does the suitcase really contain a body? How can there be two murders in the cast of three, but two remain standing at the end?

I don't think "Deadly Murder," written by David Foley, rises to the level of Agatha Christie's best work, but it was fun. This production was staged at the Winnipesaukee Playhouse in Meredith, New Hampshire, and directed by Tyler Christie (no relation to Agatha). The set was designed by Hannah Joy Hopkins and costumes by DW.

"The Penelopiad"

October 6, 2019 — I'm late reviewing this play because, frankly, it was so original and unconventional I had trouble putting my impressions into words, except that I enjoyed it immensely. Performed at the Stockbridge Theatre at Pinkerton Academy in Derry, New Hampshire, by theatre KAPOW, "The Penelopiad" is based on the novella by Margaret Atwood, author of "The Handmaid's Tale."

Directed by Matt Cahoon, one of the tKAPOW co-founders, the play is a re-telling of The Odyssey from Penelope's point of view from Hades with her twelve maids, thousands of years after the events of Homer's tale. Carey Cahoon is featured in the role of Penelope. She also designed the costumes and set. The rest of the all-female cast plays multiple roles, both male and female.

With musical accompaniment and dances, Penelope reminisces about her life and experiences at the time of the Odyssey. It was another of the caliber of performances that have won Cahoon the New Hampshire Theatre Award for best actress in several past performances. Could this be another? She's on-stage almost without interruption for the entire play, with volumes of dialog. Her child-birth scene alone is worthy of a Tony Award.

Also appearing were Emma Cahoon, Gina Carballo, Jamie Clavet, Teddi May Kenick-Bailey, Heidi Krantz, Rachael Chapin Longo, Sheree Owens and Katie Proulx, an impressive collection of talent. Musicians were Jake Hudgins, Jennifer Perkins-Sciolla and Sam Sarel. Choreography was by Lorraine Chapman. Tayva Young, as she has in many tKAPOW productions, enhanced the play with her exquisite
lighting design.

"California Suite"

September 5, 2019 — "California Suite" by Neil Simon consists of four short plays within a play, each taking place in the same plush Beverly Hills hotel suite. The Winnipesaukee Playhouse in Meredith, New Hampshire staged the play with five actors playing eleven parts. The exquisite set, designed by Meredith C. Brown, consisted of a living room, bedroom and foyer, all open and visible to the audience, but the actors navigate the set as though no room is visible from another. A bathroom is behind a door, not visible. It was beautifully furnished, causing me to wonder where on earth they acquired all that sumptuous furniture. Timothy L'Ecuyer directed and Nick Cochran designed the many costumes, from highly formal to working class to sporting.

In the first act, or playlet, Hannah (Donna Schilke) has flown to California to meet her ex-husband, William (Adam Kee) in the aforementioned suite and take their teenage daughter (not shown) back to New York with her. The dialog is sharp, sometimes nasty, with a few good laugh lines, as the two argue over which provides the best environment for their daughter, California or New York. Not my favorite of the four acts.

In the second act, which is truly hilarious, Marvin (Nate Healey), back from a business trip, awakens to find Bunny (Gwen Elise Higgins) asleep beside him. We learn she consumed a whole bottle of vodka and Marvin's best efforts fail to awaken her, and his wife is on the way. What does he do? Of course, his wife, Millie (Irina Kaplan) arrives and he desperately tries to keep her from the bedroom where Bunny still sleeps. Does Millie discover Bunny? Would it be a Neil Simon play if she didn't? My sense of humor is not terribly sophisticated (I'm a Monty Python fan, that should tell you a lot), so I prefer broad, physical comedy, and this was my favorite act.

In the third playlet, Adam Kee returns as Sidney and Donna Schilke as Diana, both English, as they check into the suite. Diana, an actress, has been nominated for an Academy Award and is there to hopefully collect her Oscar. Diana is agonizing over her gown which she believes makes her look like she has a hump and other problems. Sidney, with typical British unconcern, assures her everything is fine. They finally leave for the award ceremony. When they return, the mood has changed dramatically. All British reserve is gone, and both are in an ugly state of mind. Again, a bit sophisticated for my taste.

All except Gwen Elise Higgins (Bunny in act 2) return for act 4. Mort (Nate Healey), Beth (Irina Kaplan), Stu (Adam Kee) and Gert (Donna Schilke) are two couples on vacation staying at the suite. Beth has injured her foot in a tennis match and her husband, Mort, blames Stu for her injury due to the way he lobbed the ball. Later, Gert smashes a light in the bathroom and cuts her foot on the glass, then still later bumps and injures her head. One misunderstanding leads to another and, with both women unable to leave the bed, the two men have a free-for-all. This act is a close contender for second favorite.

I should hasten to mention all performances in all four acts were among the best of this summer theater season. The differences were strictly in my personal taste. These actors, in a space of less than two hours, had to take on the roles of people that couldn't be more different from each other. Donna Schilke's three characters could easily have been mistaken for three different people if you didn't have a program. Unfortunately, we didn't get a good look at Gwen Elise Higgins. She was partially covered in blankets in the second act and had not a word of dialog. Hopefully, we'll see more of her in future productions.

"A Doll's House, Part 2"

September 3, 2019 — Playwright Lucas Hnath wondered what might have become of Nora Helmer after she walked out and slammed the door on her husband and three children in Heinrich Ibsen's famous play, "A Doll's House." That door-slam is the last sound heard in the play, and its finality is devastating.

Hnath decided to write his own version of Nora's life after her departure and titled it "A Doll's House, Part 2." The Peterborough Players in Peterborough, New Hampshire, presented Hnath's version, directed by Keith Stevens with a beautifully-designed set by Emmy Boisvert, sumptuous period costumes by Bethany Mullins, and the Players' usual fine acting talent.

Fifteen years after walking out, Nora (Lisa Bostnar) returns to the home of her husband, Torvald Helmer (Players artistic director Gus Kaikkonen), and is greeted by the same maid, Anne-Marie (Carolyn Michel), who was there when Nora suddenly departed and was left with the task of bringing up Nora's three children. Their meeting is awkward but cordial, although cautious, at first, but finally descends into angry recrimination. And then, Torvald, who wasn't expected home for another day, shows up unexpectedly.

Why has Nora returned? She has become a successful and wealthy published author and life has been good to her. Is there something she needs from her former family? Answers to these questions are gradually revealed over the course of the four-act play, each act centering on one of the four characters. I haven't mentioned the fourth yet. That was Emmy (Katie Shults), Nora and Torvald's daughter, a child when Nora left, now grown into lovely womanhood and engaged to be married.

There is a problem threatening Nora's future and she does need help from her abandoned family. Will Torvald and Emmy oblige? Torvald, devastated and humiliated at the time of Nora's departure, is finding it hard to sympathize. Nora is a stranger to Emmy who barely remembers her and feels no kinship.

The encounters between the actors are realistic and believable, sometimes angry, often poignant, occasionally humorous. The acting is superb. Another example of quality theater by the Peterborough Players.

"The Curious Incident of the Dog in the Night-Time"

August 29, 2019 — The Weathervane Theatre in Whitefield, New Hampshire chose well when they included "The Curious Incident of the Dog in the Night-Time" for their 54th season. The book by Mark Haddon won more than 17 literary awards from several countries, and Simon Stephens' adaptation for the stage won seven Olivier Awards and five Tony Awards.

Cady Huffman directed this production for the Weathervane with costumes by Rien Schlecht. The unusual set by Gibbs Murray, consisting of a bare stage with tall, movable, various colored panels, two compartments in at the back of the stage for actors to emerge and speak from, and stair-step structures at each end of the stage seemed deceptively simple, but worked perfectly for this presentation.

In a tremendously moving performance, Jorge Donoso portrayed Christopher John Francis Boone. The word isn't mentioned, but Christopher appears to be autistic, highly intelligent but unable to cope with everyday life, horrified of being touched, and distrustful of all but the few he's closest to. He's led an extremely sheltered life, but that all changes when shortly after midnight he discovers his neighbor's dog, dead with a garden fork through its body. At first he's suspected of the horrible deed, but it sends him on a quest to find the real killer, using his above-average analytical ability and ranging far from the comfort of his small world.

Shinnerrie Jackson is Siobhan, Christopher's teacher, advisor and  most trusted confidant. Her commentary, sometimes speaking Christopher's words, sometimes narrating, moves the story along. Geoffrey Kidwell is Christopher's father and Marisa Kirby his mother. Six more actors played roles described only as Voices One through Six. The entire cast spoke in convincing British accents, honoring the play's British origins.

The story is less about the dog and more about Christopher's journey of discovery, learning about his world and himself. This was my first trip to the Weathervane Theatre in five years, and I'll remember this play as a highlight of the 2019 summer theater season.

"Things My Mother Taught Me"

August 27, 2019 — For the final play of its 89th season, the Barnstormers Theatre in Tamworth, New Hampshire, presented Katherine DiSavino's "Things My Mother Taught Me," a comic take on the age-old problem of parents unable to let their children go. This production was directed for the Barnstormers by Buddy Haardt, a frequent actor in Barnstormers plays. The set, perfectly designed for the needs of the play, was by Sarah Rozene. Mary Selvoski designed the costumes.

Gabe (Jordan Ahnquist) and Olivia (Melanie Beck), so far unmarried and unengaged (although Gabe may have a surprise up his sleeve) are moving into an apartment in a low-rent but potentially high-crime neighborhood in Chicago. Olivia is emotional, dramatic and excitable while Gabe is low-key and humorous.

For the first 15 minutes or so of the first act, Gabe and Olivia engage in seemingly pointless conversation about their parents, the problems of moving, items brought to the new apartment, such as Gabe's large carton of a dozen or so boxes of chocolate-coated cereal because they're the last cereal to include a prize in every box. A living room chair has become stuck in the door, forcing them to bring the rest of their belongings up the fire escape, not visible in the play. But none of this is pointless. It's important to listen carefully. Everything becomes key to the second act.

Max (Andrew Codispoti), the Polish building superintendent, is no help. When he doesn't care to answer a question, he declares in perfect English that his English isn't so good. However, he warns them to keep an eye on their moving van because of crime in the area. Because he warned of this, is there a good chance the van is going to be stolen? In drama, this is called "Chekhov's gun." Russian playwright Anton Chekhov said if a gun appears in the first act, it has to be fired before the end.

The first surprise visit is Gabe's parents, Wyatt (Frank Ridley) and Lydia (multiple-award winner Dee Nelson) who drove all the way from Connecticut. They see no reason to book a hotel room when they can stay with Gabe and Olivia. After all, they have two bedrooms. Next to arrive are Olivia's parents, Karen (Donna Sorbello) and smart-phone addicted Carter (Jordan Reeves).

Later, Wyatt and Carter decide to go out searching for Gabe who has gone to find the stolen van (you guessed it). Gabe returns empty-handed, followed later by Wyatt and Carter, gloriously and hilariously drunk in the two best performances of the play.

How does it all end? I won't spoil it in case you have a chance to see it, but suffice it to say DiSavino's cleverly-devised, well-written play, when performed by a cast as brilliant as the Barnstormers', is a joy to behold. It ends their season on a high note. I'm already looking forward to next summer's offerings.

"Spider's Web"

August 13, 2019 — I love an Agatha Christie mystery. The Barnstormers Theatre in Tamworth, New Hampshire has produced many of them over the years. A murder mystery-comedy, "Spider's Web" uses some standard Christie plotting, a murder, suspicion falling on several people, a visit from an inspector, and an entire final act sorting through lies, contradictions, evasions and red herrings, slowly zeroing in on the truth, always something you never saw coming.

Henry Hailsham-Brown (Jordan Reeves), a foreign office diplomat, and his second wife, Clarissa (Madeleine Maby, always superb), reside in a large house they were attracted to by cheap rent. Living with them is Henry's teen-age daughter, Pippa, to whom Clarissa is now step-mother. Also rooming in the house are Sir Rowland Delahaye (Barnstormers veteran Robert Bates), Hugo Birch (Blair Hundertmark) and Jeremy Warrender (Buddy Haardt). Another resident is Mildred Peake (another Barnstormers veteran, Penny Purcell), the gardener.

The story is complicated. You have to cling to every word of dialog, secret desk drawer, mysterious envelope, door behind a bookcase and missing playing card to follow it. Even something as innocent-sounding as the name Brown is important.

When Oliver Costello (John Long), the husband of Henry's first wife and mother of Pippa, pays an unexpected visit and is caught by Clarissa rummaging through desk drawers, angry words fly and Costello informs Clarissa his wife wants Pippa back. Clarissa orders him out of the house, but he returns in the dark of night and is in the process of searching the desk again when a hand with a club reaches from an opening behind the bookcase and bashes him over the head. He falls behind a sofa where Clarissa later discovers his body.

Pippa tearfully tells Clarissa she's responsible for killing Costello, whom she despised and feared. To protect her, Clarissa convinces the three male boarders to dispose of the body. They get as far as moving the body behind the bookcase when Inspector Lord (Robert St. Laurence) knocks on the door, accompanied by Constable Jones (William R. Johnston). They had received a call that a murder had been committed in the house, but from whom?

When the body is eventually discovered, Clarissa is forced to concoct a story too bizarre for the police to believe. And do any of us believe Pippa really murdered Costello? I should mention that through all this, Clarissa's husband Henry is away and unaware of any of these events.

Also appearing was Hank Offinger as the butler. This was one of the best-acted and directed plays at the Barnstormers in the past two seasons in my humble opinion. Clayton Phillips directed this production. Emily Nichols was responsible for the beautiful drawing room in which the entire play takes place.

"Grease"

August 1, 2019 — On my second visit to the New London Barn Playhouse in New London, New Hampshire this season, I joined a nearly full house to enjoy "Grease." This iconic musical play and movie about 1950s teens at fictional Rydell High School brought twenty players to the Barn's stage. John Battagliese and Lauren Echausse were outstanding in the roles of Danny Zuko and Sandy Dumbrowski, made memorable in the 1978 movie version by John Travolta and Olivia Newton-John. Even those who never witnessed the play or movie certainly would recognize some of the great songs, such as "Summer Nights," "Freddy My Love" and "You're the One That I Want."

This was a fine production by the Barn. Of course it doesn't have the  polish of Broadway or Hollywood, but in the small, rustic Barn theater with its worn, uneven floors, low-hanging balcony and ringing of a cowbell to alert the audience intermission is over, it's an experience that can't be matched anywhere else.

"Grease" was written by Jim Jacobs and Warren Casey. The Barn's production was directed by Russell Garrett with scenic design by Brad Carlson and costumes by Karl Green. Dance numbers, which were excellent and full of energy, were choreographed by Michael D. Jablonski. Katie Siegmund was musical director.

I won't attempt to list the entire twenty-member cast here, but besides the aforementioned Battagliese and Echausse, Daniel S. Hayward was the flamboyant master of ceremonies, Vince Fontaine. Kailie Boyle was Rizzo, leader of the Pink Ladies. Dawn Tucker, who I felt should have had more time on-stage, was the teacher, Miss Lynch. Nick Cortazzo was the quintessential '50s jock, Johnny Casino. Bradley Ford Betros ate up scenery as Roger, and Justin Norwood was the nerdy Eugene.

Song and dance numbers were exhilarating. Solos were all well-sung, but a bit over-amplified, as was the orchestra at times. But, I suppose if you don't like it loud, you've got no business at a rock musical. I should mention Caroline Attayek as Patty Simcox and RhonniRose Mantilla as Cha-Cha DeGregorio, both of whom appeared earlier this season at the Barn in "Pajama Game," for their great dance moves.

"Morning's at Seven"

July 23, 2019 — Three sisters are next door neighbors, a fourth lives a few blocks away. Cora (Kathy Manfre) and her husband, Ted (Greg Wood) and Cora's single sister, Aaronetta (Becky London) have lived together for nearly 50 yearrs. Next door reside third sister Ida (Dale Hodges) and her rambling husband, Carl (Kraig Swartz). Fourth sister Esther (Lisa Bostnar) and her husband David (Ken Sheldon) have moved several blocks away because David finds the three other sisters intolerable. Got all that?

The Peterborough Players in Peterborough, New Hampshire, presents Paul Osborn's "Morning's at Seven," directed for the Players by artistic director Gus Kaikkonen. The title is from a line in a Robert Browning poem. The set consisted of two beautifully designed and constructed house façades side by side on the stage, the creation of  resident scenic designer Emmy Boisvert.

This comedy of a dysfunctional mid-western family takes place long before the word dysfunctional was in use in the '30s. I haven't mentioned the two most important characters yet, Homer (Tom Frey), Ida and Carl's 40-year-old son, and his fiancée, Myrtle (Bridget Beirne). They've been engaged for seven years and have been going together years before that. Homer is bringing Myrtle, who none have met, home for the first time.

I won't go into all the complications that arise when old resentments and jealousies surface. Homer may change his mind about marriage. Cora has leased the house from Ida that Homer and Myrtle had planned to live in. Cora wants to move there with Ted to get away from her single sister, Aaronetta, who has lived with them for many years. Believe it or not, this is all fun to watch. It features a cast of the Players' best actors, and the more than two hours seemed to go by quickly.

"Damn Yankees"

July 3, 2019 — I saw "Damn Yankees" fifteen years ago, but when it came to the Barnstormers Theatre in Tamworth, New Hampshire last week, I decided I had forgotten enough about it to enjoy it all over again. The musical comedy first came to Broadway in 1955, with book by George Abbott and Douglas Wallop and music and lyrics by Richard Adler and Jerry Ross. Barnstormers artistic director Bob Shea directed this presentation, with set design by Sarah Rozene and costume design by Mary Selvoski.

Those of us old enough to remember the Washington Senators baseball team and especially those who may have been fans of the inept ball club can certainly commiserate with fanatical fan Joe Boyd (Doug Shapiro) and his long-suffering wife, Meg (Raissa Dorff). Joe makes a pact with the devil in the person of Mr. Applegate (George F. Piehl) who offers him the opportunity to become Joe Hardy (Alexander Molina), a terrific long ball hitter who could beat the hated Yankees in the race to the American League pennant. Joe insists on an escape clause where he can revert to his former life if he doesn't play in the Senators' final game.

Of course, complications arise, and Joe Hardy in his travels with the Senators begins to miss being Joe Boyd and especially misses Meg, who has no idea where he disappeared to. Joe is dogged by intrepid reporter Gloria (Cheryl Mullings) who is finding gaps in his past that can't be accounted for.

I'd like to give special mention to Piehl, a Barnstormers regular, always outstanding, but he gives a boffo performance in this play as Applegate. Lola (Becca Gottlieb), his accomplice, is great in the song and dance numbers. I won't attempt to name all thirty members of the cast, ensemble and orchestra, but a fine group was assembled for this production. Singing was OK but not outstanding, but those great dance numbers, led by Sara Coombs and Pim van Amerongen, got the most enthusiastic response from the audience.

I was right. I had forgotten almost everything about "Damn Yankees" from fifteen years ago, and it seemed like an all-new play, and overall a very pleasant experience.

"The Hound of the Baskervilles"

June 27 — Sir Arthur Conan Doyle would roll over in his grave if he could witness this adaptation by Steven Canny and John Nicholson. But Doyle's classic tale of horror practically invites parody for today's sophisticated audiences. Jean's Playhouse in Lincoln, New Hampshire presented this madcap adaptation, directed by Courtney Self with scenic design by Evan Hill and costumes by Ariel Couture.

The best way for me to credit the actors is to present them just as they're listed on the program. John Marshall appears as Sherlock Holmes, Mr. Barrymore, Cecille Stapleton and more. Christopher Sferra plays the roles of Dr. Watson and a "yokel." Tyler Mell switches between Sir Henry Baskerville, Mortimer, Sir Charles Baskerville and more. That's it. Three actors play at least eleven parts, maybe more. I kind of lost count.

The actors range over a large stage at a frenetic pace with many costume changes and props. As chaotic as it seems, this had to be a precisely choreographed production just to keep track of everything as the actors leave parts of costumes and other items seemingly dropped randomly, but still find everything when they need it. The costumes, some only partial, were fairly on the crude side and designed to be used and discarded quickly and repeatedly. John Marshall in drag as Cecille Stapleton was the best impersonation.

It was a hilarious show, especially the first act. After intermission, the high energy of the first act seemed to flag a bit. But overall, actors and audience genuinely had fun with it. It was an evening well-spent in the heart of New Hampshire's White Mountains.

"Mahida's Extra Key to Heaven"

June 26, 2019 — I haven't been able to decide whether I liked this play. It's low-key, except for a brief, violent outburst near the end. It had an intermission, but with a total time on-stage of barely more than 90 minutes, it didn't really need it. I'm also finding it difficult to review, but here goes:

On an unnamed island just off the U.S. mainland, unkempt, sloppily-dressed Thomas (Steven Michael Walters), an artist, has come down to the ferry dock, one of his favorite places to meditate. There he finds a woman (Aliah Whitmore) with a large travel case sitting alone at the end of a long bench. She's wearing a heavy winter coat and hijab, or headscarf, of the type Muslim women wear. He tries to start a conversation but she's unresponsive for several minutes, but Whitmore's silent acting is one of the highlights of the play. Her facial expressions say volumes.

She eventually warms up to Thomas' clumsy efforts to make conversation and we learn she's Iranian, a college student majoring in literature, and her brother threw her from the car after an argument and left her to make her own way back to the mainland. Thomas points out that she misread the ferry schedule and the next ferry isn't that evening but the next day. He invites her to walk to his mother's house a short distance away where she can spend the night. The door is always unlocked. She can sleep on the living room sofa. His mother won't mind.

Next morning, Mahida's on the sofa asleep, covered in blankets, headscarf off. Thomas' mother, Edna (Kathy Manfre), comes down the stairs and finds her, but doesn't seem particularly surprised. Mahida eventually awakens, conservative Edna grills her with a battery of prying questions about her nationality and her country's customs of which she has many misconceptions. When they hear Thomas begin to descend the stairs, Mahida urgently asks him to wait, finds her headscarf and dons it, carefully arranging the flowing fabric around her neck. It's interesting she can't be seen by a man with her head uncovered, although it has become obvious she's not strictly religious.

Finally, with Thomas and Mahida out for a walk, Mahida's menacing brother, Ramin (Adham Haddara) shows up at Edna's door, barges in without invitation, claims he's there to get his sister, gets some of the same line of questioning Edna used on Mahida, which he mostly ignores or scoffs at. It becomes obvious he's a much more devout Muslim than his sister. When Thomas and Mahida return, Ramin is there alone and Edna is nowhere to be seen. Ramin says she went shopping, which Thomas finds unbelievable. A violet scuffle breaks out between the two men, with Ramin easily overpowering Thomas.

The message I got from the play is that if we could accept, if not understand, our different cultures, beliefs and customs, secularism outweighs those things in our relations to one another. In the end, all except Radim, who storms out in a huff, understand this. Everyone survives their injuries, both physical and spiritual.

I never figured out the meaning of the title, "Mahida's Extra Key to Heaven" by Russell Davis. Presented at the Peterborough Players in Peterborough, New Hampshire, the play was directed by Players artistic director Gus Kaikkonen. Charles Morgan designed the excellent multiple sets, and Bethany Mullins was responsible for costume design.

I guess I liked it. I was never bored at any time. Performances by the four actors were first-rate, as we've come to expect at the Players.

"The Pajama Game"

June 12, 2019 — There are many songs that are so familiar to most everyone that we recognize them immediately, but have no idea of their origin. How about "Hey There"? Have you heard "There Once Was a Man"? "Steam Heat"? "Hernando's Hideaway"? Most of us can hear them in our heads and even remember many of the lyrics upon hearing the titles. But do you know where they came from? Well, the aforementioned songs were all introduced in The Pajama Game, a musical play that premiered in 1954. It has had many revivals, won two Tony Awards over the years and was made into a movie in 1957.

The play is now in performance at the New London Barn Playhouse in New London, New Hampshire. With book by George Abbott and Richard Bissell and music and lyrics by Richard Adler and Jerry Ross, this presentation was directed for the Barn by Chad Larabee. Brad Carlson designed the realistic set, a reproduction of a mid-20th Century factory with brick walls and high windows. Emily Kimball did the costume design and Shane Parus was music director.

Heading a large cast were Carly Valancy as union rep Babe Williams and Chris Cherin as factory superintendent Sid Sorokin. Tom Ford played the dual roles of union head Mr. Hasler and Babe's dad, masterfully handling the parts of two characters with dramatically different personalities. With the union in tough negotiations with management of the Sleep-Tite Pajama Factory, things get even more complicated when union rep Babe and superintendent Sid, on opposite sides of the dispute, fall in love with one another.

Frankly, some of the singing was a bit flat and the orchestra at times sounded like a recording played off-speed. But the dance numbers were excellent, thanks to Natalie Wisdom's choreography and the fine talent and energy of Caroline Attayek as Gladys and the rest of the dance ensemble.

The New London Barn is just that, a barn. The ancient floor is worn and uneven, but the seating is comfortable. A cow bell is rung to alert patrons the show is about to start, and again when intermission is over. The acoustics of the old building are not the best, but it can be forgiven for that. It's an intimate theater experience and I always look forward to its shows. Its overall record for fine entertainment in a rustic setting in the years I've been attending has been excellent.

"Silent Sky"

April 28, 2019 — In the late 19th and early 20th Centuries, Edward Charles Pickering, director of Harvard Observatory, began hiring women to analyze and catalog data from telescopic photographs on glass plates. More than 80 of these women would work for Pickering during his tenure, earning 25 to 50 cents an hour working six days a week. They computed. The were called computers.

Lauren Gunderson honored three of these dedicated women in her play "Silent Sky," presented in its New Hampshire premiere at the Derry Opera House in Derry, New Hampshire, by theatre Kapow.

Emily Karel appeared as Henrietta Leavitt in a particularly moving performance, by turns exhilarating and heart-breaking. Henrietta's observation of variable brightness of stars proved the known universe extended far beyond our own Milky Way.

Candace Gatzoulis portrayed Henrietta's sister, Margaret, who remained at home and Henrietta missed Margaret's marriage and the birth of her nephew as she labored away at her intense, tedious job in Pickering's laboratory. When their father became critically ill, Henrietta finally went home temporarily but had her work sent to her so she could continue her research. Gatzoulis moved the story along with piano and song.

Carey Cahoon, a co-founder of theatre Kapow and winner of two New Hampshire Theatre awards for best actress, appeared as Annie Jump Cannon whose strict discipline kept the research on track. The multi-talented Cahoon also designed costumes and scenery for this production.

Gail Angellis, in her tenth show for theatre Kapow, took the part of Williamina Fleming, the first woman to hold an official title at Harvard. Angellis was an audience-pleaser with her convincing Scottish accent and folksy manner.

Jimmy Stewart, the lone male member of the cast, appeared as Peter Shaw, the socially awkward assistant to director Pickering. Smitten by Henrietta, he finds endless excuses to interrupt the women in their work while seeking Henrietta's attention. Peter and Henrietta eventually do find a temporary bond, but it's a relationship not meant to be. I can't confirm this part of the story is anything but fiction, but it's a charming romantic digression.

Rachael Chapin Longo directed this excellent production. Matt Cahoon, the other theatre Kapow co-founder and winner of multiple New Hampshire Theatre awards, was stage manager. And what would a theatre Kapow presentation be without Tayva Young's lighting expertise? Her backdrop of a huge starfield and other lighting effects were as important as the performances, executed by light board operator Trey Haynes.

A well-deserved standing ovation rewarded the cast at the end of the play, another triumph of this small but always outstanding New Hampshire company.

"Insignificance"

April 13, 2019 — It's around 1954. The Professor (A. J. Ditty), with wild hair and sloppily dressed in Princeton sweatshirt, baggy pants and no shoes, is going over his research papers when there's a knock on the door. When he opens it, in barges the Senator (Thomas Daniels), with slicked-down hair, carrying a bottle of whiskey and a couple of glasses. Loud, crude and overbearing, he tries to force liquor on the non-drinking Professor, lectures him on the communist menace and tries to convince him he should testify at the Senator's House Un-American Activities Committee.

The Senator eventually leaves, but soon there's another knock on the door. This time it's the voluptuous blond Actress (Kelsey Andrae) in fur coat, huge sunglasses, figure-hugging white dress, carrying balloons. Andrae plays the part to the hilt, and I was especially impressed with the dialog she had to memorize for her explanation of highlights of the special theory of relativity to the Professor, using toy locomotives, flashlights and other props, and much to the Professor's approval, she gets it right.

Yet another knock on the door turns out to be the Actress's husband, the Ballplayer (Landon Shaw). Incensed at finding his wife in the Professor's room, he becomes belligerent and threatening, striking fear into the Professor and the Actress. In a long harangue, he pops bubblegum and boasts about his thirteen World Series rings.

The characters are not named, but those of us who were around in the fifties, or those who are students of the period, should recognize the Professor as Albert Einstein, the Senator as Joe McCarthy, the Actress as Marilyn Monroe, and the Ballplayer as Joe DiMaggio. All performances are first-rate. The part of the Ballplayer, written as a loud, bellicose bully, is not the suave, gentlemanly DiMaggio we remember, but it's appropriate for this play, and he does share the anguish and heartbreak Joe must have known. Nick Cochran had a brief non-speaking part as the Senator's tall, grim aide.

They all return in the second act, in climactic scenes, offering some insights into what motivates them. This is all fiction, of course. There's no record of these four ever meeting in a hotel room or anywhere else, except of course Monroe and DiMaggio who were briefly married. It's an often funny, sometimes poignant, very entertaining presentation.

The play, titled "Insignificance" by Terry Johnson, was staged at the Winnipesaukee Playhouse (the Winni) in Meredith, New Hampshire. Neil Pankhurst directed, Lesley Pankhurst designed the costumes and Dahlia Al-Habieli the set.

Ice Harvest & Winter Carnival

February 16, 2019 — In all the years I had been going to the Barnstormers Theatre in Tamworth, New Hampshire, I had never taken a tour of the Remick Country Doctor Museum & Farm, just a block up the street from the theatre. When I heard the farm was having its annual Ice Harvest & Winter Carnival, I thought that might offer some good photo ops, so I headed up there.

The day was cold, but I was expecting that, and dressed in layers. There was abundant snow on the ground, something we haven't seen much of during this remarkably snow-free winter in the southern portion of New Hampshire. There was a mix of sun and clouds with occasionally gusty winds.

Activities included ice cutting from a small pond at the farm. Visitors were invited to participate, cutting ice out in blocks which were then slid along a chute to be loaded onto pallets towed by oxen to the ice house for storage. There were various demonstrations of cold weather tenting, ice boat operation, ice sculpture and, of course, a tour of the museum.

Photography was challenging because of sun glare and sharp contrast between darkly-clothed people against glistening snow. But, with a little help from Adobe Photoshop on my PC, I was able to improve upon what my camera had difficulty with. You can see the results at this link:

https://www.linwoodstreet.com/wintercarnival/

"Stage Struck"

February 10, 2019 — This play has so many plot twists the audience is repeatedly surprised as one twist after another upends everything that happened before. In a continuation of its winter season live performances, the Peterborough Players in Peterborough, New Hampshire, presented Simon Gray's "Stage Struck," directed by Charles Morey and featuring a stellar cast of four, all veteran performers with wide-ranging experience. They included Kraig Swartz, one of the most prolific and popular Peterborough actors, and another frequent and equally popular performer, Lisa Bostnar, who has several TV roles to her credit and will be appearing in a made-in-New Hampshire movie, "Parallel America," in the near future. Appearing for the first time at Peterborough were Nicholas Wilder and Charles Weinstein.

The complicated plot involves former stage-manager Robert (Swartz), who has  happily given up his career to care for the household and pamper his successful actress wife, Anne (Bostnar). A visit by a gun and knife-toting friend, Herman (Wilder), ramps up the tension in this seemingly peaceful setting. Later, Robert's world is thrown into turmoil when Anne informs him she wants a divorce. It seems her psychiatrist (Weinstein) has put her up to this. Robert cooks up a scheme to get even, but of course, as in any good play, nothing works out as planned. There are counter-schemes and counter-counter-schemes that keep the audience guessing.

Of course, as you might suspect, the gun and knife become important props in the play, In fact, there's a warning in the theater lobby that there will be multiple gun-shots in the performance. Unfortunately, the gun was responsible for the only glitch in the otherwise perfectly executed play, when it misfired at a crucial point near the end. But the actors got past the malfunction smoothly, and I think most of the audience understood it was unintended.

The sumptuous living room set with its plush furniture and towering bookcase was the work of Emmy Boisvert. That ingeniously designed bookcase was the site of one of the most startling events of the play. Bethany Mullins did a great job on costume design, particularly Lisa Bostnar's.