Carla Maria Verdino-Süllwold - Page 17

Maine State Music Theatre continues its impressive 2016 lineup of shows with two performances on June 20, 2016, of A Grand Night for Singing, a musical revue conceived by Walter Bobbie to showcase the glorious songs of Richard Rodgers and Oscar Hammerstein II. Directed and choreographed by Curt Dale Clark with tap choreography by Raymond Marc Dumont, the revue features a sixteen-member cast of young professionals drawn from the intern company and local Maine performers, who turn in a performance that offers not only grand singing and dancing, but also speaks to the huge reservoirs of talent that MSMT is proud to possess. The original 1993 twenty-seven song revue skillfully weaves together a wide range of Rodgers and Hammerstein's works in arrangements by Fred Wells (and lovely orchestrations by Michael Gibson and Jonathan Tunick) from both their smash hits like Oklahoma, Carousel, South Pacific, The Sound of Music, The King and I, and Cinderella, as well as gems from lesser-known shows like Allegro, State Fair, Flower Drum Song, and Pipe Dream. Patrick Fanning serves as MSMT's Music Director, conducting the wealth of melodic material with elan, delicious detail, and nuance and eliciting from the young cast lyrical and idiomatic renditions of beloved sings such as 'We Kiss in a Shadow,' 'Maria,' 'If I Loved You,' and 'This Nearly Was Mine' or upbeat numbers like 'Honey Bun' and 'Oh, What a Beautiful Morning!' The dynamically staged and imaginatively choreographed production by MSMT's Artistic Director Curt Dale Clark - with a dazzling, intricate tap number created by Raymond Marc Dumont for 'Kansas City' - is brimming with class, warmth, and humor. Clark inspires the cast to bring to their music and vignettes an infectious and embracing energy, an eloquence of emotion spiced with mischievous moments. His pacing is brisk, and he effectively builds a lively sense of character and communication among the cast members, who share their enthusiasm with the public, even interacting on several occasions with the audience in the house. By retooling the contexts of many of the songs, he is able to add a contemporary and universal touch to their appeal. Most of all, he helps these young artists find and share the timeless heart in this treasure trove of American musical theatre. Using the bare bones of the Ghost set makes for a minimal but attractive decor. The characterful casual and subsequently elegantly formal costumes by Travis S. Grant are carefully chosen for their complementary pastel hues; the kinetic lighting by Heather Reynolds and a well-balanced sound design by Nate Dickson contribute to making this revue offers a feast for eyes and ears. Working seamlessly as an ensemble, the youthful cast gives their all both in the big production numbers and in focused solos, amply illustrating the meaning of the musical theatre term 'triple threat.' They sing beautifully; they dance with technical aplomb, and they act with irresistible charm. Moreover, each and every one of them knows how to interpret a song - to make it more than a lyrical moment. Each has several occasions to shine, and Clark and Dumont have skillfully mined their individual strengths. Among the many highlights are a perky rendition of 'Surrey with the Fringe on Top' (Eric Berry-Sandelin, Katie Whittemore, Cameron Wright, Rachel Grindle, Hugh Cipparone, Berkley Jones), inspired vocal interpretations of 'If I Loved You (Jennifer Kennedy), 'It Might As Well Be Spring' (Berkely Jones)'This Nearly Was Mine,'(Matthew LaBerge), a smoldering account of 'Maria' (Alex Drost), a romantic 'We Kiss in a Shadow' (Giovanni DiGabrieli), a winsome 'All At Once' (Marty Lauter, Cipparone), and a single verse in 'Love Look Away' to bring tears to the eyes (Lauter), a feisty 'Stepsisters' Lament,' (Ali Sarnacchiaro, Haley Ostir, Megan Flynn), a spirited 'I Can't Say No' (Molly Keane-Dreyer, Kennedy), and a witty 'The Gentleman Is A Dope' (Alex Drost, Kyle Laing, Ostir, DiGabrieli, Lauter). The numerous ensemble numbers are enhanced by the strong camaraderie and chemistry among the players, making for some memorable comic and romantic moments such as the women's septet in sunny 'Wash That Man' and the men's octet in a plaintive 'Love Look Away.' The choreography is expressive, lyrical, and catchy by turns - ranging from ballet and modern to jazz and tap - with such numbers as the sweeping polka of 'Shall We Dance?' or the dueling tap in 'Kansas City' garnering special attention. Special mention to Berkely Jones, Marty Lauter, and Kyle Laing for their dance solos and impressive technique. To spend an evening with these magnificent Rodgers and Hammerstein classics makes it impossible not to take away a renewed appreciation for their geniuses and a love of their legacy. But A Grand Night for Singing does something else as well. It proves to be one more piece of evidence that MSMT is truly, as its catchphrase promises, 'Bringing Broadway to Brunswick.' Photos courtesy of MSMT, Roger S.Duncan, potographer Evita which begins on June 29 - July 16 at the Pickard Theater, 1 Bath Rd., Brunswick, ME, on Monday, June 20 at 2:00 p.m. and 7:30 p.m. For tickets call box office at 207-725-8769 or visit online at www.msmt.org

'Sometimes in this business, it can seem you work and work and you aren't seeing results right away. Then all at once, everything comes to fruition at once, and that is a major boost to our company morale. That's exactly what has happened this season for MSMT,' says Artistic Director Curt Dale Clark. 'Of our main stage productions, we have three that will be firsts!' Clark, who is joined by director Marc Robin, actors Liz Shivener and Mike Backes, is speaking to a Brunswick audience at Curtis Memorial Library on June 15, 2016, at the first of the season's Peek Behind the Curtain series, which is moderated by Broadway World's Carla Maria Verdino-Sullwold. He elaborates. 'This summer we will present the New England regional premiere of Mama Mia; we have extended our twelve-week season for the first time by co-producing with Portland Stage, The Irish and How They Got That Way, and together with the Fulton Theatre, we have created the East Coast Regional premiere of the new chamber music version of Ghost The Musical. It's been an extraordinary adventure!'

Robin and Clark's musical theatre version of Jack and the Beanstalk, which plays three performances this week at MSMT's Pickard Theater, is a colorful, clever, catchy retelling of a familiar story designed to enchant the entire family. Directed/choreographed by Curt Dale Clark, cast with an ensemble of energetic young actors, and staged in a striking visual production, this delightful fairytale creates magic for all.

'We do art because of what it does for us - how it transforms us,' actor Gregg Goodbrod states with quiet conviction. 'Being an actor helps me to understand other people and see their lives and my own from a different perspective. That's why doing a play like Ghost becomes a journey that really resonates for me.' Goodbrod is speaking about his emotionally and physically demanding role as Sam Wheat in the new chamber version of the original 1990 movie and 2011 stage musical, which is currently playing at Maine State Music Theatre. He uses an example of the scene in which Sam, now a ghost, watches his beloved Molly sort through his belongs. 'I am really very Method as an actor, so I try to get into it completely and feel the actual feelings. And as I am watching Liz [Shivener] play this scene, it suddenly hits me that all these things are not what are important. If I were go, I know it is the love that I would miss. That's why I am an actor - so I can take these journeys and learn new lessons.'

Maine State Music Theatre's 2016 opening brought the East Coast premiere of the stunning and soul-stirring new chamber version of Ghost The Musical, and the evening proved to be an extraordinary artistic event! Not only did this production represent an unique collaboration between director/choreographer Marc Robin and the musical's original creators, Bruce Joel Rubin, Glen Ballard, and Dave Stewart, but it offered Maine audiences the opportunity to savor the depth and range of this remarkable company's artistry. For the Ghost which was unveiled at Brunswick's Pickard Theater June 9 (a co-production of MSMT and Lancaster's Fulton Theatre) dazzles with the complexity of its score, the tenderness of its story, its symphonically perfect direction, splendid visual values, and by the deep identification of the cast with the material.

'What they did is nothing short of miraculous! I know because I was there as a friend, a colleague, an artist. I was there in that room as the magic was happening!' Award-winning actress E. Faye Butler is speaking of the Fulton Theatre and Maine State Music Theatre, of her old friends from their Rockford, Illinois days, Marc Robin and Curt Dale Clark, and of the entire creative team and cast of the new chamber music version of the musical Ghost in which she now stars. The Bruce Joel Rubin-Glen Ballard-Dave Stewart show which opens at Maine State Music Theatre in Brunswick on Thursday, June 9, is a reprise (and New England premiere) of the newly minted chamber adaptation presented at Lancaster's Fulton Theatre on April 21, 2016, after a year-long development process. One can feel the excitement and electricity in Butler's presence and her comments about this play with music which, she believes has given new life to both the original 1990 Jerry Zucker movie starring Demi Moore, Patrick Swayze, and Whoopi Goldberg and the 2011 stage version. 'E. Faye is a force of nature!' MSMT Managing Director Stephanie Dupal proclaimed when she saw her in the premiere.

South Portland's Mad Horse Theatre closed out its season with a prickly and provocative production of Aaron Posner's adaptation of Anton Chekhov's The Seagull - Stupid F**king Bird - a contemporary "deconstruction" which brilliantly mines the inherent humor as well as the aching ennui of the Russian playwright. Tautly paced by director Christopher Price, the excellent cast gives an immediacy to the play, which Chekhov, himself, actually called a "comedy in four acts."

'We are all Irish. Everyone loves the free, spirited, easy come-easy go air of the Irish, and this show makes everyone want to be Irish all the time - not just on St. Patrick's Day.' There is a twinkle in his eye, as Maine State Music Theatre's Artistic Director, Curt Dale Clark, utters those words. Immediately his sentiments are seconded by the show's director/choreographer, Marc Robin, and Portland Stage's Artistic Director, Anita Stewart, all three of whom will be joining forces to create Frank McCourt's play with music, The Irish and How They Got That Way, from August 16- September 4, 2016, at Portland Stage.

An air of curiosity and expectation was in the air at the opening of Andrew Lippa's THE WILD PARTY at South Portland's Portland Players. The 1997 musical with book, music and lyrics by Lippa is not a familiar piece for many musical theatre audiences. What they experienced in a little over two hours, created in the searing vision of director/choreographer Raymond Marc Dumont, was a theatre piece that is difficult, disturbing, and absolutely brilliant!

Music Director Rohan Smith has certainly taken this fine community orchestra to a new level of excellence. This past weekend, joining forces with the Oratorio Chorale, directed by Emily Isaacson, the Vox Nova Chamber Orchestra, directed by Shannon M. Chase, and four guest soloists, the huge ensemble took on the challenge of Giuseppe Verdi's dramatic Requiem and delivered a stirring performance. Grand in scale and presenting many symphonic and vocal challenges, Verdi's quasi-operatic work is more secular theatre than religious observance, but as such, it is laden with passion, emotion, and intensity. All these qualities were on display in the Midcoast Symphony's performance.

With miles of pristine coastline, picturesque villages, excellent dining and shopping, Maine is a summer mecca for tourists. But beyond sightseeing and outdoor recreation, Maine's summer theatre landscape is a rich and colorful one, making it a major cultural destination as well. Here are my editorial picks among the wealth of this summer's theatrical offerings.

Lewiston's Public Theatre's closing play of the 2015-2016 season, Susan Sandler's Crossing Delancey is the perfect Mother's Day offering, projecting cozy warmth and fond memories of an unforgettable Jewish grandmother. The 1985 play, which takes a bemused look at the clash between traditional Jewish- American immigrant culture and the more modern aspirations of the next generations, serves up a quintet of characters one cannot fail to embrace

Portland Stage closes its season with Dario Fo's 1974 play, They Don't Pay? We Won't Pay!, in the playwright's signature style of provocative socialist politics and broad Commedia dell'Arte farce. Translated from the Italian by Jon Laskin and Michael Aquilante, the Portland production adds an Americanized layer of iconic comedy characters and references to shows such as the Honeymooners. The overall effect alternates between moments of hilarity and wearisome intervals, though one can only admire the virtuoso performances of the entire cast and director Ron Botting's crisp, energetic production.

Portland's Good Theater is closing, what has been a highly adventurous and challenging fourteenth season, with a triumphant production of Act One, James Lapine's play based on the autobiography of Moss Hart. This nostalgic, subtly comic, and warmly touching work tells the story of a young Hart, learning to navigate the complex currents of writing a Broadway show in the 1930s. Told by two narrators, Lapine's play brings to life not only the Hart-George S. Kaufmann partnership, but a host of other colorful historical characters who helped to shape this golden age of the stage.

A full house of children and adults greeted the Disney musical Mary Poppins with exuberant delight at the historic Waterville Opera House this weekend. And, indeed, the elaborate production of the familiar classic had many pleasures to offer. Directed by Debra Susi with choreography by Adam P. Blais, the staging was lively and the dancing serviceable, sometimes sparkling, while the moments of flight (facilitated by Foy) elicited the appropriate gasps and applause. The atmospheric production, despite slowing the action in the scene changes on several occasions, boasted a painted drop set with moveable furniture units and a colorful, magical lighting design by Chad Lefebvre, who created the storybook palette in pastel pinks, greens, blues, and lavenders. Travis M. Grant supplied the lavish, elegantly designed and detailed costumes, and Jayson Murray insured a well-balanced acoustic with his sound design.

“We came up with this pitch that alliterates,” says Maine State Music Theatre's Managing Director Stephanie Dupal of the theatre's description of their upcoming 2016 summer season. “Relive the romance of Ghost; feel the fire of Evita; welcome the warmth of Fiddler; and experience the excitement of Mama Mia,” she recites. Joined by Artistic Director Curt Dale Clark, the pair is talking about their plans for their main stage productions and the various new initiatives this dynamic team has launched since taking the helm of the company's leadership in 2013. By all accounts it is to be a season to surpass even the excellence of the prior ones!

Portland Stage's latest production of Aaron Posner's 2014 adaptation of Chaim Potok's novel, My Name Is Asher Lev, is a touching account of a young Jewish man's quest to become an artist and to reconcile his vocation with the traditions and expectations of his Orthodox family and community. Portland Stage has produced the three-character work in a stylish ninety-minute production that moves with subtlety and restraint toward Asher Lev's coming of age as an artist and a son.

Choosing to mount Arthur Miller's enduring classic, The Crucible, can be tricky business. The timeless masterpiece is a well-known, beloved staple of the stage and literature, though its very familiarity often makes it difficult to bring any new insights to the piece. Nonetheless, Portland Players takes on that challenge and manages to mount a stirring, fresh account of Miller's tragedy.

Mad Horse Theatre company has mounted a full production of Brent Askari's savvy, subtle, sometimes serious comedy, Digby's Home as its third main stage production of the 2015-2016 season, having first been introduced the work to Portland audience's at the company's BY LOCAL series. The play, which chronicles the return to a small New England town of Digby Preston, a maladroit middle-aged man who has pursued his dreams of being a comedian in Los Angeles, and now comes back for a family visit hoping to repair family relationships and rediscover his place in his hometown. Digby's odyssey proves to be one subtle disappointment after another, and he soon finds the journey may actually be more meaningful than the homecoming, but his stay is not without some resolution.

Portland's Lyric Music Theater has mounted a sweetly sad production of the Marsha Norman-Lucy Simon musical version of the Frances Hodgson Burnett novel, The Secret Garden, that is sure to touch the hearts of young and old alike. Directed by Joshua Chard, the production showcases the versatility of the company and offers a gentle lyrical contrast to previous endeavors such as Sweeney Todd and The Addams Family.