Andria Tieman - Page 4

The Gamm is currently showing two short plays back-to-back, with all female casts. ESCAPED ALONE by Caryl Churchill (New England Premiere) is a tight one-act that raises far more questions than it answers. COME AND GO by Samuel Beckett is so brief it almost feels like it's over before it begins, but is strangely haunting. Overall, it's a combination of works that are very well-acted, but also feel somewhat jarring in a way that doesn't quite pay off.

The story of SCHOOL OF ROCK is a fairly simple one-- a somewhat aimless manchild gets a job substitute teaching, and because he doesn't really know how to actually teach subjects like math and science, he instead focuses on teaching the students how to play rock instruments so they can compete in the Battle of the Bands. What really makes this work as a stage musical is that in adapting it from the screen version, book writer Julian Fellowes didn't change too much. The story follows the film pretty exactly, and the ending is 100% predictable, and that's a very good thing. This show is all about the musical skills of some incredibly talented young performers, and that is more than enough.

Are you a Gryffindor or a Hufflepuff?  Do you see yourself more closely aligned with Slytherin than Ravenclaw?  These are important questions to know the answer to before attending one of the Harry Potter film concerts, because probably 60% of attendees are wearing their house colors, and when the conductor asks you to cheer for your house before the show begins, you need to be ready.  Right off the bat it's made very clear that this is not a typical symphony performance. Attendees are encouraged to cheer for their heros and boo for the baddies--the Dursley family got no love from the audience at the 8pm show. For true Harry Potter fans, this adds another dimension to watching the much-loved movies, and it is absolutely thrilling to watch the Rhode Island Philharmonic score the movie live.

As a massive Roald Dahl fan, this reviewer secretly hopes his entire catalog will wind up as Broadway shows someday. For now, we have Matilda The Musical (London 2010, Broadway 2013) and Charlie and the Chocolate Factory (London 2013, Broadway 2017). The stage version of the 1964 novel that has had two film adaptations does a very good job of marrying the original text with many of the beloved songs from the 1971 film. It also doesn't shy away from the fact that Willy Wonka invites five children into his place of business, and four of them may end up dead or disfigured by the end of the day. The script has some updates for the time period, but in this age of helicopter parenting and raising your kids practically encased in bubble wrap, it's kind of nice see this show lean into the darker aspects of the story, which are the hallmarks of Roald Dahl's writing.

HEDWIG is one of those musicals that is a perfect balance of humor and tragedy with absolutely fantastic songs. The production currently at Academy Players, directed by Ted Clement is so satisfying to watch, and is an overwhelming spectacle of music with an incredibly talented cast. Kevin Broccoli commands the stage as Hedwig and Vic Leo is the perfect compliment (antagonist?) as Yitzhak. This is truly not a show to miss.

THE HOUSE OF BERNARDA ALBA is one of those deliciously sinister plays that unpacks social mores, female relationships, self destruction and repression in a way that is eminently watchable. The current production at Epic Theatre features Michelle L. Walker as Bernarda Alba, a part so perfectly cast that you can't imagine anyone else in this role. The rest of the cast is equally strong, but it's very clear through Walker's performance that she is Bernarda Alba, and this is her house.

The Homeric epic The Odyssey, is at its core, a story of a man trying to return home after a war. black odyssey is much the same, but instead of Odysseus, hero of the Trojan war, we follow Ulysses Lincoln, a black man who joined the army to earn some money for his young family, but who was pulled into an unexpected war after the attacks of September 11, 2001. This retelling blends the classic story of The Odyssey with lots of music, fantastic costumes, heartbreak and laughter. Unlike the character of Odysseus, who seems most himself when he's fighting, killing or talking his way out of a situation; Ulysses Lincoln is a man who wants to go home, but who is also feels unworthy because of things he did during the war. He's a much more human character, played with perfect humility and inner turmoil by Joe Wilson Jr. Knowledge of the original story of The Odyssey may make certain in-jokes in this play slightly funnier, but there's absolutely no need to slog through that tome before experiencing this excellent production.

ANASTASIA, based on the 1997 animated musical film of the same name, tells the tale of the supposed daughter of Tsar Nicholas II, who was alleged to have escaped her family's execution. Though the plot is based on historical events, it's not necessarily historically accurate, preferring instead to gloss over the larger events and focus on the people like the Dowager Empress, who escaped the Russian Revolution and is alive in Paris, and Anya, the young girl who may be the lost princess. This romantic plot glosses over the nuances of Russian history, and focusing on one girl with no memory, and who she actually might be, and she happens to live in Leningrad. That's not to say this is all fluff, there are some stunning visuals that hint at the violence of the revolution. This show has clearly tried to appeal to both children and adults, and it's walked that line very well.

Playwright Branden Jacobs-Jenkins seems like a man who likes to make theatre audiences uncomfortable, and make them question their most basic reactions. Rhode Islanders will be familiar with his play Appropriate, which was at Trinity Rep in 2016, and may have left many scratching their heads in a 'what did I just watch?' way. GLORIA, playing through December 16 at the Gamm is a similar head scratcher, but is remarkably well-executed with a strong cast and excellent direction. The mental gymnastics this play asks of the audience are confounding, and there are plenty of moments where the script feels manipulative, but the end result is satisfyingly perplexing in a way that feels new.

Trinity Rep's annual A CHRISTMAS CAROL production is always delightful in new and exciting ways. This year, they've partnered with 56 choirs from Rhode Island (and a few from Massachusetts) to make each show unique and feature even more local talent. This is a lovely addition to the classic story, and another way that Trinity manages to give this play something new year after year. Set in a classic Victorian backdrop, this year's production features lots of singing and dancing, and some pretty fantastic effects and performances.

Festival Ballet's UP CLOSE ON HOPE series is always an opportunity for the company to branch out from the classical ballet most are familiar with to really show the range and talent of the dancers and choreographers.  This fall program features five world premiere pieces largely in a more modern style that showcase some outstanding choreography by resident choreographer Viktor Plotnikov and a star making performance by dancer Tegan Rich. It's a night of terrific performances, and unexpected delights.

THE NIGHT OF THE IGUANA is among Tennessee Williams' least-know plays, but still one that resulted in over 300 performances on Broadway and a 1964 film version starring Richard Burton and directed by John Huston. Unlike Williams' more famous works, it's likely that audiences don't know much about this play going into it, and while there are some interesting characters and poignant lines, it becomes easy to see why this play is not often produced. The double whammy of a tedious and heavy-handed script paired with performances that beg for more nuance leave this first production in The Gamm's new Warwick location an unfortunate slog.

PRIDE AND PREJUDICE has been adapted over and over (once with zombies!) because it's a classic tale of manners, social mores, love and determination.  The version currently playing at Trinity Rep was adapted by Kate Hamill who is known for her contemporary adaptations of classic works. Unfortunately, in the case of this production, the excellent cast and cheeky adaptation were marred by clunky staging and what seemed like an unwillingness to fully commit to to the contemporary premise.  Interesting double casting makes the show fun and unexpected in many ways, but also causes the stage to be set up in a way that doesn't do the audience any favors. True devotees of Pride and Prejudice will no doubt find much to love with the exceptional cast, but some of us may just be underwhelmed.

MISS SAIGON, the tragic love story of a Vietnamese woman who falls in love with an American GI during the Vietnam War, is certainly not short on drama. Based on Puccini's Madame Butterfly, this retelling focuses both on the love affair between the two main characters, but also the horror of war and desperate hope to better one's circumstances. This is one of the most elaborate sets this reviewer has ever seen, and the drama almost takes a backseat to the phenomenal technical and sound design. This new tour, from the 2017 revival, features some outstanding vocal performances, but also doesn't try to hide away or reconcile previously controversial content.

It may seem a bit odd to base a play on a movie, but when one considers that SHAKESPEARE IN LOVE was co-written by Tom Stoppard and won him an Academy Award, it becomes a no-brainer.  Under the capable direction of Jeff Church this witty and heart-warming story comes alive in a new way that will make you laugh out loud and also feel awfully smart. The script is chock full of references to other Shakespeare plays/themes and well-known writers of the day, then layered with a tale of two star-crossed lovers portraying star crossed lovers.  Set in the round, this production hits all the right notes and is cerebral, fun and perfectly cast.

The Merry Murderesses of Cook County have set up in South County Rhode Island to close out Theatre By the Sea's 85th season with a bang.  This production is stacked with talent, as well as the outstanding songs and dance numbers one can rely on. Even as the days are (finally) getting a bit cooler, CHICAGO is keeping things hot right into September.

Playwright Nick Payne is someone who asks a lot of his audience.  On its surface, CONSTELLATIONS is the story of the relationship between Marianne and Roland, in execution though, the play examines every possible iteration of that relationship a bit like if the movie Sliding Doors had 50 Gwyneths in it. The requires the two actors in this 75 minute play to become multiple different versions of their character with just a brief pause and audio signal to the audience that things are changing.  Thankfully, Epic Theatre regulars Hannah Lum and Christopher Crider-Plonka are up for the challenge and manage to create what feels like a masterclass in character creation. The wonderfully spare set design by Jillian Eddy serves the story and creates visual interest without distracting from the drama and humor of the love story.

If you take a second to think about it, MAMMA MIA is a very strange musical.  Based on the musical catalog of Swedish superstars ABBA, it takes place on a Greek island where nearly everyone is American.  Classic ABBA hits (with minor lyrical changes) are shoehorned into a skimpy plot, but somehow, probably since this show doesn't take itself too seriously, it all works.  Theatre by The Sea in summer is the perfect venue for a show like this, especially since the audience is likely to also be dressed in the type of summer resort-wear the cast is also wearing.  The whole vibe is a bit like a fancy summer camp with really good singers. The only real hiccup with this production, oddly, is the direction and choreography of TBTS's Artistic Director Kevin P. Hill. Hill has directed many exceptional shows over the years (Sister Act, The Music Man, The Wizard of Oz), but the  blocking and lack of movement in key moments of Mamma Mia caused the show to drag in certain spots.

If you take a step back and really think about it, musical theatre is pretty absurd.  Actors stop talking and burst into elaborate song and dance numbers, which are often great to watch, but you feel like if aliens landed on Broadway and went to a show, they would have a very strange idea of what human beings are like.  That's just one of myriad themes in SOMETHING ROTTEN. Not the part about aliens, but this show is more of a snarky love letter to musical theatre that also happens to contain insanely great song and dance numbers, as well as a few excellent dick jokes.  It's something for everyone, and it's a show so layered with inside jokes that it begs to be watched over and over again.

It probably takes a certain level of masochism to spend part of a weekend at a play called LIFE SUCKS, but it's (probably) been proven that watching the struggles of other people makes us feel better about our own circumstances. In the case of this play, viewers can feel doubly smug because it's based on Anton Chekhov's Uncle Vanya, and therefore counts as high culture.  Playwright Aaron Posner is making a career of turning the classics on their head--Wilbury Theatre company recently produced Stupid F%&*ng Bird, a play of his based on The Seagull, and there is a lot in the production to enjoy and identify with, even for those not intimately familiar with the source material.