"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.