American Independence Festival

July 15, 2017 — The American Independence Festival in Exeter, New Hampshire is organized by the American Independence Museum, a non-profit organization, with support from volunteers, the festival committee, chamber of commerce and the community as well as financial support of sponsors.

Events included firing of a battery of cannons on three separate occasions over the course of the day which proved highly popular in spite of ear-splitting explosions. A battle reenactment between British forces and the town militia along the banks of the Squamscott River drew a huge crowd of spectators, happy to see the militia win the day. A reading of the complete Declaration of Independence was given, while loyalists and British military boo'd and threatened the speaker. There was to be a fireworks display in the evening.

Military encampments, arts and crafts exhibits and demonstrations of the Revolutionary period, and various vendors filled the downtown area and Swazey Parkway along the river. Individuals in period dress and military uniform were everywhere. Marching bands went by frequently. There were tours of the 1721 Ladd-Gilman house where, among many other artifacts, was the actual 23rd printing of the Declaration of Independence from 1776.

Videos and photos of the events can be seen at this link:

http://www.linwoodstreet.com/independence/

"Constellations"

July 11, 2017 — This is a difficult review to write. I've spent much time thinking about this play since seeing it two days ago, and I'm not sure I fully understand what it's trying to say. I can't even decide whether I liked it or not. Presented by the Peterborough Players in Peterborough, New Hampshire, the play is performed by two actors on a stage set consisting of lights that suggest a starry sky and streaks that could be...the Milky Way? The only furnishing is a plain, large platform about eight inches high that the actors stand on, lie on, dance on, step on and off of.

The Players' artistic director, Gus Kaikkonen, directed and designed the set for "Constellations" by Nick Payne. Marianne (Bridget Beirne) is a theoretical physicist and Roland (Sean Patrick Hopkins) is a beekeeper. Barely over an hour long with no intermission, the play consists of a series of conversations that often repeat themselves, as the characters move through first meeting, dating, engagement and a life-threatening illness. Sometimes events from an earlier time are repeated. Scientist Marianne explains multiple universes and the concept of time to Roland. Are these the underlying themes? Are the brief conversations, rolling forward and backward in time, different universes? Einstein theorized time encompasses all of past, present and future at once, and the sense it's moving forward is an illusion. Are we supposed to believe the characters are moving about freely in this sea of time? Am I completely missing the point?

The two actors were excellent and engaging to watch. The audience seemed enthralled, except the couple directly in front of me. About half-way through the play, they looked at one another, nodded and without a word got up and left. Of course, I have no way of knowing the reason for their departure, but I suspect they just found the play unfathomable. Personally, I never had a notion to leave. I had to see where this was headed. Where it ended was just as puzzling as where it began. But I'm glad I stayed. This was the most thought-provoking play I've seen in some time. I'm still thinking about it.

"Kimberly Akimbo"

July 6, 2017 — Kimberly (Kim Lajoie), suffering from a rapid aging disease, is 16 years old and near the end of her life expectancy. Her mother, Pattie (Carey Cahoon) is pregnant, unable to use her cast-bound hands after carpal tunnel surgery, and as if that weren't enough, she's a hypochondriac who's convinced she has cancer and diabetes and hasn't long to live. Kimberly's dad, Buddy (B. Christopher Williams) is an alcoholic. Intruding in their chaotic life is Debra (Emily Jones), a homeless person and career criminal.

Could a play about such woefully damaged people be a comedy? It certainly is, thanks to author David Lindsay-Abaire's skillful treatment. Matt Cahoon, director of this performance for Jean's Playhouse in Lincoln, New Hampshire, more than does justice to Lindsay-Abaire's work.

Much of the dialog is hilarious and the situations absurd, but there's an undercurrent of heartbreak in this story of a dysfunctional family of meager means in a dingy suburban New Jersey apartment. Kimberly, a teenager in the body of a woman more than four times her age, is in an increasingly fragile condition. Her mother, loud, profane and self-absorbed, is unsympathetic toward her daughter, or anyone but herself for that matter. Buddy, thoughtless due to his drinking, can destroy his daughter's self-worth with insensitive comments and neglect, but is capable of feeling remorse in rare moments of sympathy.

Into Kimberly's life comes Jeff (Jordan Gross), a geeky school-mate who at first has a scientific interest in Kimberly's condition and wishes to interview her for a school report. But they discover they're kindred spirits, both outcasts, she due to her disease and he because of his nerdy personality. A romantic attachment gradually grows.

But Debra has a money-making scheme, illegal of course, that she convinces Kimberly and Jeff to participate in, in spite of their initial reluctance. Everything is ready to go, but Kimberly, increasingly frail, collapses at the end of Act 1.

A few weeks have gone by as Act 2 begins. Pattie, still pregnant, hands still in casts, is now hobbling around with a broken ankle she suffered when she ducked out for a smoke and fell off a loading dock at the hospital where she was visiting Kimberly after her heart attack. Kimberly is now home almost recovered. Debra is urging her to join her and Jeff as they execute their plan. It's around this time Kimberly learns of an unforgivable scheme her parents carried out to avoid any chance of having another child with Kimberly's handicap.

I was pleased to see Cary Cahoon, a founding member of theatre KAPOW whose productions I've enjoyed many times. Her role as the crude, unlovable Pattie was a tour de force. All the actors were good, but Cahoon and Lajoie as Kimberly were outstanding.

Can a story about such afflicted, unhappy people on a seemingly unstoppable race to disaster have a happy ending? You just don't know what to expect in Lindsay-Abaire's whacky, unpredictable play.

Souza Palooza

July 1, 2017 — The Fourth of July celebration known as "Souza Palooza" was held with about 150 people in attendance, entirely outdoors, at times under threatening skies, but predicted rain held off and we stayed dry for the duration of the event, now in its 23rd year. A high school graduate was also honored at this celebration.

Volleyball, dodge ball and other games were enjoyed on the spacious lawn, along with an excellent variety of food and lots of it. Two bands were scheduled for late in the evening, but unfortunately I didn't stay for that, anxious to complete the long drive home before predicted severe thunderstorms hit. I could have stayed. The storms never materialized anywhere on my travel route, although some areas experienced heavy rain, damaging winds and power outages.

You can see my videos and photos of the Palooza at this link:

http://www.linwoodstreet.com/palooza17/

"Spamalot"

June 29, 2017 — The Barnstormers in Tamworth, New Hampshire, presented "Spamalot," a raucous, high-energy musical comedy, based mostly on the 1975 movie, "Monty Python and the Holy Grail," with ideas and dialog borrowed from other Python movies and the British group's TV series. All the irreverence, awful puns and inspired silliness the group was famous for was there, but set to music and spirited dance numbers.

Book and lyrics were by original Python member Eric Idle, music by Idle and John Du Prez. Barnstormers artistic director Bob Shea directed this production. Bret Silverman was the musical director and Taylor Shubert the choreographer. Costume designer Mary Selvoski did an impressive job designing the costumes for the large cast, multiplied by the many costume changes. Set designer Sarah Rozene did nice work on the medieval set.

I won't attempt to credit the entire cast here, there were too many. But Al Bundonis, tall and imposing, had the physical attributes and strong voice for a great, if often befuddled, King Arthur. Ryan Malyar was Arthur's constant companion, carrying a huge backpack and imitating the hoofbeats of Arthur's non-existent horse with coconut shells. Cheryl Mullings with her powerful voice was terrific as the Lady of the Lake. Doug Shapiro was a bit under-used in my opinion. One of the funniest men in New Hampshire theater, he could have been given a meatier role.

It helped if you were familiar with the group's off-beat style, as it appeared most of the nearly full-house audience was, judging from their reactions. I happen to be an unabashed Python fan, have been for years, but I'm well aware they're not everyone's cup of tea. So if Python humor tickles you more than it repulses you, you'd love this play. Even if you're not a fan, the show has some great song and dance numbers. This was a first-night performance, indeed the Barnstormers' first show of their season, and the entire production was perfection.

"The Whipping Man"

June 27, 2017 — It's April of 1865 and the Civil War has ended. The play begins as Caleb (Will
Howard), a Confederate soldier, severely wounded, tumbles through the door of his old Virginia mansion, barely able to walk. At the sound of his noisy arrival, Simon (Taurean Blacque), a former slave, comes out of another room bearing a rifle. Recognizing Caleb immediately, he lowers the rifle. Thus begins "The Whipping Man" by Matthew Lopez, directed for the Peterborough Players by Howard Millman, in Peterborough, New Hampshire.

As the play progresses in Charles Morgan's excellent set, a ruined southern mansion, stripped of most of the family's possessions, with tall windows, torn drapes, a chandelier on the floor and other signs of ravage and neglect, we learn Caleb and his family are Jewish. This is not just a plot device by the author. As many as 10,000 Jews may have fought in the Civil War on both sides.

A little later, John (Robb Douglas), another former slave, appears. Unlike the somber, sympathetic Simon, John is loud, irreverent, and a heavy drinker. Simon declares Caleb's badly wounded leg will have to be amputated to save his life. When Caleb refuses to go to a hospital, Simon decides he and John will have to perform the surgery. This leads to one of the most harrowing and gut-wrenching scenes in the play.

In Act II, Caleb's leg has been amputated and he's bed-ridden. Simon and John, who have adopted their masters' Jewish faith, prepare a Seder meal in observance of Passover. All three participate, Caleb reluctantly at first, claiming he lost his faith at Petersburg, one of the final and fiercest battles of the conflict.

Missing from the house are two other former slaves, Elizabeth and Sarah, their whereabouts unaccounted for. With Simon out of the room, we learn from John a terrible secret, unknown to Simon. Caleb insists they must tell him, even though it will break his heart, but John, in a rare moment of compassion, is reluctant to do so.

The whipping man of the title refers to the policy of wealthy southern families to send their misbehaving slaves to services that provided whipping for a price, thereby keeping their own hands clean from this brutal practice. John had been a victim of many such whippings, one of them ending in an act of violence by John that could have serious consequences for him.

This was a beautifully-acted play, particularly by Taurean Blacque, about the evils of slavery, the devastation of war and personal loss. The sparse audience for this Tuesday afternoon performance was obviously pleased.

"The Rocky Horror Show"

June 15, 2017 — Currently on stage at the Winnipesaukee Playhouse (the "Winni") in Meredith, New Hampshire, is a fast-paced, sexy, hilarious production of "The Rocky Horror Show." Opening in London with book, music and lyrics by Richard O'Brien in 1973, the play received positive reviews. The 1975 movie based on the play, re-titled "The Rocky Horror Picture Show," was not as well-received, but achieved cult status at midnight showings that continue to this day, featuring wild audience participation, where patrons dressed in costume throw various items around, repeat dialog and lyrics and dance in the aisles and at their seats.

The Winni invited the audience to participate, but in a carefully controlled way. Patrons could dress in costume, as some did, but were not allowed to bring their own objects into the theater. Any bags brought into the theater were subject to search. A five dollar charity contribution entitled you to a theater-provided kit containing a flashlight, confetti, toilet paper, a newspaper and playing cards, along with instructions as to which points in the performance to use these items. There was no annoyance to patrons who chose not to participate, although I did comb some confetti out of my hair the next morning.

The theater was bathed in violet light as we entered. Multi-colored chandeliers hung from the rafters along with strings of colored lights. Actors roamed the aisles and kibitzed with the audience before the play started. Set designer Dan Daly's impressive set consisted of several stairways and platforms. It resembled his set for last year's play, "Israel Potter, American Patriot."

This production at the Winni was directed by Timothy L'Ecuyer. Janet (Rebecca Tucker) and Brad (Michael Luongo), after a walk in the rain after their car breaks down, stumble into a strange mansion filled with stranger people. All they wanted was to use a phone, but that's not what the mansion's weird residents have in store for them. I won't go into all the details which by now are familiar to many, but suffice it to say this high-energy performance, with great music under the direction of Shoshona Seid-Green and dance numbers choreographed by Brian Knowlton was well-received with frequent loud cheering and applause by the enthusiastic audience.

Mark Stephen Woods, heavy-set and towering over all the other performers, pretty much stole the show with his over-the-top portrayal of the transvestite, Frank-N-Furter. Wayne Shuker was Rocky and Anthony Logan Cole with his powerful voice took the dual roles of Eddie and Dr. Scott. Artistic director Neil Pankhurst did a rare acting turn as the narrator. Equally noteworthy were John-Michael Breen as Riff Raff, Valerie Nuccio as Magenta, and Sandia Ahlers as Columbia. The supporting cast was excellent. R-rated scenes behind back-lighted sheets at the beginning of Act 2 were cleverly staged and hilarious. This was a great start to my summer theater tour.