Joseph Harrison - Page 9

It's always a treat to see something familiar come to life in a fresh and exciting way. Mixing the expected with the unexpected adds a certain thrill to any creative endeavor. This is the way it is with Disney's THE LITTLE MERMAID, which is being brought to life on stage (or, rather, under the sea) by the Warner Stage Company at the Warner Theatre in Torrington, Connecticut. The production, which plays through August 5th is every bit as magical and engaging as the original 1989 Disney film by Alan Menken and Howard Ashman. On stage at the Warner, THE LITTLE MERMAID is bubbly, bright and a treat for both the young AND the young at heart.

Grief can be a very strange thing and people react to traumatic events in very different ways. Some may become reserved and avoid contact with people. Some may turn to their faith for support during trying times. Others, like the young man in TheaterWorks' HAND TO GOD, channel anger, fear and confusion into a demonic and controlling puppet. Yes, you read that right. In Robert Askins' Tony Award nominated play, young Jason and his evil puppet alter ego, Tyrone, wreak havoc on a small Texas church and raunchy, rude, unhinged hilarity ensues.

There is something glorious taking place at the Repertory Theatre in New Britain, Connecticut. The Connecticut Theatre Company is staging the very first community theater production of THE COLOR PURPLE, the hit Broadway musical with book by Marsha Norman and Music & Lyrics by Brenda Russell, Allee Willis and Stephen Bray. Readers familiar with the beloved musical very likely may have the same initial reaction as this reviewer had - "A community theater production of THE COLOR PURPLE? Not sure how good that can be." Well, let me go on the record to say that this production by the Connecticut Theatre Company is absolutely breathtaking and does justice to every note, every scene and every heart-wrenching and beautifully written song in the musical. It is fresh and simple, and every bit as moving and life affirming as the original Broadway production (and its recent revival.)

"Please, sir. I want some more." These are the iconic words are spoken by young Oliver Twist at the beginning of Lionel Bart's classic musical OLIVER! This simple ask for more to eat sets Oliver out on a dangerous but exciting journey into a world where his innocence and positive outlook impacts all he meets. These words also sum up the experience of watching OLIVER!, which is the second show in Goodspeed Musicals current season. OLIVER! is a show that excites, enthralls and leaves you, in the end, simply wanting more. OLIVER! is one of those shows that doesn't get produced that often, possibly due in part to the number of children needed to pull it off appropriately, which is why it is thrilling to see Goodspeed give its signature treatment to this classic musical that many may not have experienced before (this reviewer included.)

THE PIANIST OF WILLESDEN LANE - piano virtuoso Mona Golabek's beautiful retelling of the story of her mother's escape from Vienna as a young woman on the Kindertransport - has returned for a limited engagement through July 22 at Hartford Stage and the performance is once again enthralling, beautifully told (and played) and something not to be missed.

For over 40 years, Andrew Lloyd Webber's iconic rock opera JESUS CHRIST SUPERSTAR has been thrilling audiences and sparking conversation and debate between theatergoers and fans alike. Over those 40 years different productions have put their own spin on the tale of the last days in the life of Jesus of Nazareth, told from the perspective of Judas Iscariot via a powerful rock score. From the original concept album and productions, to the film starring Ted Neely and Carl Anderson, and most recently with the NBC live production, this captivating story has shown a universal quality that continues to excite audiences as much today as when it premiered. And in that light, the final production of the Connecticut Repertory Theatre (CRT)'s Nutmeg summer series, does what JESUS CHRIST SUPERSTAR does best - thrills audiences while stimulating dialogue and introspection, long after the last chords of the score are through.   

The orchestra begins to play a quiet, foreboding melody as the cast takes the stage inviting the audience to "Attend the tale of Sweeney Todd", soon with a signature factory whistle the man himself, malicious, glaring and exuding an air of evil appears center stage. Thus begins what, for many, is an unlikely favorite musical, Stephen Sondheim and Hugh Wheeler's SWEENEY TODD. And, thus also begins Connecticut Repertory Theatre (CRT)'s current production of the hit musical. From that point on, though, all bets are off as the next 2 hours are filled with a performance that is fresh, exciting,  and downright chilling, and is certainly something not to be missed.

Home. Family. Finding where you belong. Themes that best describe the heart and soul of Lin-Manuel Miranda's Tony-winning Best Musical, IN THE HEIGHTS which is now playing at Playhouse on Park in West Hartford, CT. This powerhouse predecessor to Mr. Miranda's current smash hit HAMILTON, is a musical with a fresh and modern story and a palpable energy that bursts to life on the Playhouse stage.

Money is a funny thing. It has a certain pull to it that has been inspiring (and corrupting) people since the beginning of time. Those who understand the complex world of money and finance can be assets to their employers (and themselves), and in some rare cases, such as the harrowing tale behind Ayad Akhtar's THE INVISIBLE HAND, money can be a life-saver.

There are few things that can impact relationships, families and communities as significantly as politics. Often one of the topics many consider off-limits for casual gatherings, political discourse has a tendency to divide groups along ideological lines and can make for a tense discussion. And in today's world of political extremes, this reality is as evident as ever. It is along these lines that these realities come to life in vivid tableau in Athol Fugard's A LESSON FROM ALOES, the closing production of Hartford Stage's 2017-18 season.

Have you ever wondered what it would be like to drop everything, walk out your door and do something completely new? That is what Diana, the central character in Neil Bartram and Brian Hill's new musical YOU ARE HERE does on the eve of the moon landing - she walks out of her comfortable suburban, Chicago life and learns how the unexpected can lead to a life changing experience. I had the chance to sit down with the duo behind the show, book writer Brian Hill and composer and lyricist, Neil Bartram who shared a little about their creative process, Diana's journey in the show, and how they work effectively together to bring a musical like YOU ARE HERE to life.

Every once in a while, a person is born who is destined to influence the world in ways yet to be seen. Sometimes these men and women are born into a position of power, such as a king or queen, and other times they do whatever it takes to become great and powerful business or political leaders on the backs of others. But once in a blue moon there comes a man who gains fortune and fame for simply being someone who people connect with, who speaks the truth, and who does his best to make the world a better place than he left it. One such man is the sage from Oologah ,Oklahoma, William Penn Adair Rogers. As time passes, fewer and fewer people are alive who had first-hand experience reading Will Rogers' column, listening to him on the radio, or seeing his films. It is for that reason, that we are lucky a show like THE WILL ROGERS FOLLIES exists, and even luckier that Goodspeed Musicals chose it for the opening production of its 2018 season. Telling his life story over the course of a Ziegfeld follies extravaganza (another thing that many today have no memory of), this dazzling, colorful, and heartwarming musical takes audiences on a journey from rags to riches with America's "Cowboy Philosopher".

Imagine you suddenly find yourself out of a job and unable to find a new one. You have bills to pay and a family to support. Would you do whatever it takes to make ends meet? Even if that meant becoming a stripper in front of thousands of people you know? That is the dilemma facing the out of work men at the center of the Warner Theatre's current production of Terrence McNally and David Yazbek's musical, THE FULL MONTY.

Some musicals make you laugh, some musicals make you cry, and others make you want to get up and dance in the aisles. But on a rare occasion, a musical comes around that entertains while making the audience sit up, take notice, and think. This is the case with the Opera House Players' final production ever in the Broad Brook Opera House - Jason Robert Brown and Alfred Uhry's PARADE.

Passion, scandal, love (both requited and unrequited), and regret are emotions fraught with pain and joy. They are also timeless experiences - as relatable today as they were a hundred years ago. Such is the case with Edith Wharton's THE AGE OF INNOCENCE which has been adapted for the stage by Douglas McGrath and is the latest production from Hartford Stage (in association with the McCarter Theatre Center.) The play, based on Ms. Wharton's Pulitzer Prize winning novel, provides a lavish setting for the tale of one man torn between propriety and passion, and the fixed and proper world of New York society at the end of the 19th century.  

How one defines family can vary greatly from culture to culture and from generation to generation. What that word means to one person may mean something completely different to another. These are lessons learned by Maria and David, cousins from two very different worlds that form the heart of Jesse Eisenberg's THE REVISIONIST, now playing at West Hartford's Playhouse on Park.

Since ancient times, men have been dressing up as women to perform in a variety of settings. From ancient Japanese theater to Shakespeare's classics, a man in drag was something one just came to expect from the theatre. But in modern times, dressing in drag has taken on a much different meaning. For those who don a wig and strap on a fabulous pair of heels, drag is an escape from reality, a visceral and visual protest performed with a shiny, and often irreverent veneer. But, at its core, drag is about creating an outlet to overcome personal fears, anxieties, and shortcomings, in a larger than life way. These themes, and more, are on display in TheaterWorks newest production of Matthew Lopez' THE LEGEND OF GEORGIA MCBRIDE.  

The traditional gift for a 15th anniversary is crystal, if you follow that sort of thing. So, it is fitting that the 15th anniversary show of the stop/time dance theater at Playhouse on Park in West Hartford is a brilliant and clear demonstration of the passion and skill of founder/director Darlene Zoller and her fabulous troupe of performers. And while this group is a labor of love for everyone involved, it is far from amateur, as demonstrated during the energetic and entertaining production playing on the Playhouse stage in West Hartford through March 25th.

"The story you are about to witness is one of romance, tragedy, primal murder and the urge for revenge." These words, spoken by the famous Belgian detective, Hercule Poirot open Agatha Christie's MURDER ON THE ORIENT EXPRESS, the latest production at Hartford Stage (in collaboration with the McCarter Theatre Center), and set the scene for what is soon to be a fast-paced and extremely entertaining evening of theatre. The play, newly adapted by Ken Ludwig (LEND ME A TENOR, CRAZY FOR YOU, MOON OVER BUFFALO) at the request of the Agatha Christie estate, takes the story from Christie's bestselling 1934 novel and breathes new life into the tale of an unlikely group of strangers on the lavish Orient Express and the murder that shines the spotlight on each of them.